PACIFIC RIM

What, if anything, do you think would come out of your mind if you were to think back upon your childhood and make a film from what you found there? Trying to buy alcohol and cigarettes whilst underage perhaps?

Well, luckily for us, and Warner Bros., the mind and memory of writer / director Guillermo del Torro has conjured up alot more than an ill-fated attempt at a grab-n-go from Threshers. Mixing his childhood viewing habits of Mexican and Japanese TV, he has created what can only be described as a 10 year old's wet dream before they know what wet dreams are supposed to be about.

Giant robots trying to whack the seven levels of hell out of giant monsters. Yes, it's a fully loaded, Summer blockbuster, CGI version of Rock 'em, Sock 'em Robots - even more so than the Hugh Jackman starring Real Steel attempt back in 2011. And, as John Hammond would say,this time round there's "no expense spared!"

Firstly, let's deal with what for some will be the elephant in the room - the man who wrote and directed the crafty and cult likes of The Devil's Backbone, Pan's Labyrinth, Cronos and the two Hellboy movies has gone full "Hollywood" and done a complete Summer blockbuster. Yes, he co-wrote it and directed it. There's no getting away from it and no doubt there may be cries of "sell out" from true fans upon seeing his latest effort. This is not what you'd expect from del Torro to deliver after him moving on to other projects from the back then much-troubled and often delayed The Hobbit.

For those accustomed to his style and unusual imagery and charm, Pacific Rim will not feel like a del Torro film at all. There is nothing within its 132 minute running time to distinguish it from say, the latest Jerry Bruckheimer or Michael Bay movie - apart from the ever-constant presence of Ron Perlman of course. At times, it feels like an alternate universe version of Transformers with never-ending, OTT punch ups that destroy everything around the battlers within a 10 block radius. The camera swirls around the fighters as they face off against each other; dramatic slides and back flips are orchestrated; shouting is done alot (more on that later) - yep, we are definitely in Bay territory here and not in del Torro's. However, maybe that's not a bad thing? Spielberg showed the world a change of style with his Jurassic Park and Schindler's List releases in the same year, so can't del Torro have a go at not being del Torro?

The reply is: No. And yes.

Those who have never seen any of his previous output will have a ball at the "quote it before you know it" dialogue and the "see it coming sandwich with a side order of cliche" served up. Now, don't get me wrong, that does not mean that Pacific Rim is an awful film. Not by a long shot. It's a fun, full-on cheese-fest from beginning to end - one that takes nothing serious at all, not even its own science in the end! So, regarding Pacific Rim, ask yourself this question: do I like Independence Day? If the answer is "yes" and you don't mind rewatching it - telepathic links let both sides of the war know what's going on; a big, explosive payload has to be delivered whilst in disguise in order to save the day; male ego's clash at inappropriate times - then you will sit and grin throughout this. True, you don't get The White House being blown to bits, frozen up or drowned out and washed away. What you do get however though is a new and just-as-much-fun image of a super tanker being hefted like a baseball bat in readiness to beat the living crap out of a monster just like a caveman would do to a dinosaur in a Ray Harryhausen B-movie.

And that is exactly what Pacific Rim is - a very big budgeted B-movie with thrills, spills and wooden dialogue to match from a bunch of cloned beefcakes (he's the dead brother? No, he's the mouthy rival. But they look exactly the same!) and of course, Idris Elba. He is about the only character to stand out - not just because of his colour in a sea of a caucasian cast, but for his extra loud shoutiness, his coolness and his "This is OUR Independence Day!" speech - here it's "we are cancelling the Apocalypse!" Unlike Bill Pullman's Independence Day President, he doesn't need a megaphone to address the troops with a rallying cry to arms - Elba can just shout it to them. With that form of presence, you can feel his absence from the storyline when it switches to either the troubled robot pilots/fighters or the two geek techs trying to find another solution to the threat that Earth and its populace is facing. Only Perlman fills in the Elba gap but then his appearances are few and far between too.

So, fun with a capital "f" and better at delivering on the promise of its trailer than Godzilla was, it's a great film for those who haven't seen a del Torro film, or for those with a 10 year old child still dominent inside of them or for those who have enough alcohol in them that the rediscover their childhood and ignore the illogic of throwing a monster around in the ocean where the water will only cushion its fall and not hurt it...

UK release date: 12.07.13
Certificate: 12A

DESPICABLE ME 2

Sequels. We want them but we dread them. For every The Empire Strikes Back there's Speed 2: Cruise Control, Miss Congeniality 2: Armed & Fabulous, and so on and so forth (sorry Miss Bullock!)

2010 saw the arrival of a new anti-hero to steal the hearts of both young and old alike - and also showed that Pixar could still be challenged now and again with a mixture of great characters, quotable dialogue, glorious animation and - what Pixar does best - a display of substance over style.

Enter Gru and his Minions and millions of smiling audience members and cuddly Minion toys! Now 3 years later, the original cast and crew, with some additions, have returned to challenge evil... and sing about bananas!

If you loved the first foray of Steve Carell's moon-stealing villain (and you should of!), then prepare to be once again entertained - with maybe just a pang of pondering plonked on your popcorn tasting of "what could have been."

The original saw Carell's Gru grow into a delightful father figure from a despicable budget-constrained baddie  by the 3 girls he adopts to beat a rival. Here, the journey taken sees Gru try to grow further still by finding that "someone special" to share the role of parent to the less troublesome girls. Maybe that's the pang mentioned earlier about this sequel - one aspect that made the original so charming has moved on, and for continuity and story-telling, that is correct, but it does leave a kind of scratch that can't be itched.

The struggle to deal with whilst keeping his identity secret from the 3 girls was ingenious and apart from the mighty Minions (more on them later) most of the laughs came from the clash of strong, stubborn, single super villain vs 3 strong, stubborn sisters. Their constant battle for supremacy gave us the legendary "It's soooo fluffy I'm gonna die!!!" line. Here, Gru seems to be battling against his own clumsy stupidity and then eventual awkwardness once he realises that he does indeed care for Agent Lucy Wilde (Kirsten Wiig) rather than any other form of comedic relief. Yes, this makes for some fine slapstick and adult recognition of those embarrassing "lovey dovey" moments driven by shy awkwardness from the man who was shunned by girls as a boy. However, it feels just abit tame compared to the original with its adult vs child comedy approach.The step-dad and his step daughters familiarity breeds our contempt perhaps?

Now this may sound like a blasting of Despicable Me 2, but it isn't. The fondness for the first means that the bar was set very high indeed. This bar is met albeit with the pole of Minion mayhem rather than full cast cooperation. The Minions get to take more of the centre stage and this confidence has been shown with them getting their own spin-off movie which is already in pre-production - Minions. Scene stealer's extraordinaire, whether they are hoovering up in a French maids outfit or clambering up the side of a tall building ala the World War Z zombie's terrifying horde, all that they do is perfectly pitched to have both children and adults alike laughing like loons at their antics. If you don't spill your cola or spit your popcorn out at the films finale of "I Swear" then you're either too young to remember the early 90's or you're in need of a defibrillator!

So, all in all, it's fun, frivolous, fine-looking and funny... and maybe a tad forgetful? The kids will love it still but maybe step-parents or those parents who remember the uphill struggles with their offspring may hanker for the comedic foundations of the first foray.


UK release date: 28.06.13
Certificate: PG

WORLD WAR Z

And so it came to pass that the much talked about "troubled Brad Pitt movie" finally hit a waiting world. A world where zombies now are a well-worn common appearance due to in part of the success of the likes of The Walking Dead - both its TV and graphic novel existence.

With its well-publicised reshoot of its ending and delayed release date by nearly a year, could the unfilmable World War Z be worthy of attention from audiences in a packed Summer schedule?

Yes.

Director Marc Forster on paper seems an unusual choice for a sprawling story about the end of humanity. His Monster's Ball, Finding Neverland and Stranger Than Fiction are small, intimate stories of struggle and it is exactly this approach that he has brought to this tale of a global struggle for survival. Not too fear though, he's also brought his experience of set pieces from Quantum Of Solace along so that it's not just talking and walking amongst the plague of the undead.

Like the zombies depicted in the film, Forster and the 6 ( yes, 6! ) writers move straight away at an incredible pace - shuffling around aimlessly groaning is definitely off the menu here. Within the first 10 minutes an entire city is overrun with only snippets of information dropped in by news reports played out in the background on radio and TV. You meet Pitt's ex UN guy - Gerry - and his family all living happily in Philadelphia, then, before you can learn their names (which turns out to be pointless but more on that later) suddenly the streets are amok with carnage, but not awash with blood ( again, more on that later.)

With the entire world facing this zombie holocaust, Gerry is forced to help seek out an answer in a bold and refreshingly frank ultimatum - help and we'll guarantee your families safety. Don't and we won't. This plot device of finding "patient zero" allows us to see other parts of the overrun world and also allows Forster to deliver his set pieces. South Korea, Iraq and Wales all get their time on the screen and each has their own very distinct set piece to shred the nerves and start the goosebumps. Korea gets its own Call Of Duty-esque night time manoeuvres with Pitt trying to get from and to his military plane amid a plague of zombies. Iraq gets the big budget sequence which features heavily in the trailer where you get to see exactly what a herd of fast-moving zombies can do. This part pushes the tension to new levels but it never veers into the horror territory because you never really see any consequences of the zombie attacks. Throughout the entire World War Z, you never see any blood or carnage to help you realise the brutal seriousness of what is happening all around. If they hadn't of maybe gone for the lower certificate rating, this could have been a rare thing indeed - a summer blockbuster that added "horror" to its genre listing along with "action" and "spectacle."

Instead what we have is a great thriller that wants to truly scare and unsettle but never gets the chance to fully deliver on that. The sequence involving the lab in Wales is the infamous reshot part of the film and armed with that knowledge you could be forgiven for wondering exactly what it was that they had already filmed. That's because the ending here is a very much quieter and smaller set of events when compared to the first two thirds of the film. For this reviewer however it is the most nerve wrecking of all the land-based attacks with another game called to mind - a very Resident Evil" creep around" feel to it. One that is very different to the shoot 'em up chaotic action of the Call Of Duty part at the beginning.

Those astute of you may have noted the phrase "land-based" attacks just then. There is one other sequence that beautifully captures the terror of being caught between a rock and a hard place - now known as being caught between an airline door and a zombie.  Pitt gets to show some acting chops in this part where he comes face-to-face with the epidemic and with no feasible way out that doesn't involve the death of himself and every other passenger aboard the unluckiest place since Samuel L. Jackson had some bother on his one some years ago. Pitt, as expected and as always, carries the film throughout with ease but that does mean that basically everyone else doesn't get a look in. To the extent that his own family that he's trying to indirectly save by helping find a weakness in the zombie affliction don't really register on the important radar. All that accompany Pitt on his whirlwind tour of "Zombie World" may as well be wearing the red uniforms from Star Trek as they have about the same life expectany of one of The Enterprise's security crew!

A great film that truly delivers on the tension and spectacle, it feels alittle bit short on the gore and the "World War" status - at times more like a World Skirmish In The School Playground type of thing. If the open ending and box office allows for the obvious sequel, here's hoping they go more 28 Days Later than 28 Weeks Later and really try and scare the crap out of the audience!

UK release date: 21.06.13
Certificate: 12A

MAN OF STEEL

Four words changed the face of modern cinema back in 2005 - Christopher Nolan's Batman Begins. With Nolan's take on the Caped Crusader, audiences and studios alike were shown that there could be another way to depict a "comic book character" upon the silver screen. Reality could be part of the foundation for a film of a larger-than-life superhero... and it could work with impressive results.

Jump 8 years ahead and the success of his Dark Knight trilogy has placed Nolan at the top, amongst the few who can pick and choose (and not be interfered with on) any film they wish to make. Passing on Warner Bros. invitation to helm the rebooting of their jewel in the crown, Nolan took on instead producer and co-writer duties, leaving the directing to the dismay of many fans - Zack Synder. With a back catalogue classed by many as a prime example of "style over substance" (300, Sucker Punch, Watchmen, Legend Of The Guardians: The Owls Of Ga'Hoole) Synder seemed a very leftfield choice to bring the all-American hero Superman back to the world.

So, does the mix of "style" Synder and "normal" Nolan work? Yes. And no.

Superman - the challenge has always seemed to be how to actually challenge him. He is, after all, invincible. Until they introduced the (still strangely unbelievable) reaction to parts of his homeworld - Kryptonite - nothing really ever put him in jeopardy. Apart from his natural urge to protect those mere mortals around him (which is often exploited by the villains), tension for the son of Jor-el has been problematic at best. So, the way around that particular thorny issue for the reboot? Give him the double whammy of both emotional AND physically obstacles to deal with.

Cavill, stepping into the iconic cape donned by Reeves (4 times) and Routh (just once), has the somewhat unenviable task of retreading the origins trail along with some additional development. The plot here spans what was originally taken up by the very first two Superman films - his arrival and "identity" discovery and then his "home compatriots" challenge. Throughout a big chunk of the 143 minute running time, Cavill is asked to perform various shades of reserved, quiet and awkward as the young Clark Kent tries to follow his Earth-fathers advice and keep his head down as "humans won't be able to cope with the knowledge of someone like himself walking amongst them." Kent Snr is given an almost Uncle Ben quality from the Spiderman franchise with every great speech given echoing the infamous "with great power comes great responsibility." Choosing Kevin Costner to be Kent Snr was a wise choice as he walks the fine line between "everyday man" and ""learned father to an alien" easily, making what could have either been a throw-away role or abit of a joke neither. His performance resonates more than Russell Crowe's Jor-el who for the most part has to play it very neutral as he is a hologramatic version of himself, guiding Cavill to make his choice of  whom to fight for.

Now, if all of the above seems a tad "serious" then you have read between the lines! This is played for drama and depth rather than adventure and fun. And therein lies the rub. With the likes of complicated and slightly unhinged Bruce Wayne/Batman, drama and depth can work. However, Clark Kent/Superman, by its very nature, demands a lighter touch - probably to help deal with the way-out-there plot of an alien fighting for justice and the American way. But Nolan and Goyer's script instead concentrates on the "serious" whilst Synder brings the "spectacle." None of them seem to have brought the "light touch" or the "fun" that the original two outings had or the likes of the Ironman franchise repeatedly delivers. Yes, this is a different film from those just mentioned and a different time, but then, out of nowhere, in the last 5 minutes of the Man Of Steel, we are suddenly given a full-on glimpse of just how entertainingly fun it can be! The interaction between Cavill's bespeckled Kent and Amy Adams's Lois Lane is cheek-achingly grin-inducing after all the spectacle, speeches, smashingof Smallville and strangely enough the avoidance of the actual word "Superman."

Up until those final fantastic five minutes of non-special effects fun, the plot sees alot of back story crammed in via a non-linear timeframe but strangely done at a very lesiurely pace. Just like Clark Kent himself, the film seems to meander, looking for a place to fit in. His movement from place-to-place and job-to-job sees him secretly saving people, then moving on before his true nature and identity is discovered. This backstory told through flashbacks is a novel approach to the life of Kent but it does make it slightly harder to feel sorry for the boy who has to keep himself to himself for fear of ruining both his and his Earth-parents lives. Just when you begin to connect with the young Clark, the scene swings to either a burning oil-rig or a bar and the connection between audience and protaganist is weakened somewhat. 

Overall, Man Of Steel is a good foundation to build upon, and no doubt the sequel will be on its way to us very soon, but its not a great stand alone experience. At times too serious and too long, the film suffers from Transformers Torrets where the action is too fast - a fact heightened by the use of camera shake presumably added for realism. When one of the many entanglements isn't taking place, it gives us a good insight into how hard it must be for the son of Jor-el to fit into our world but I just wish they'd have put some fun into it to ease both his and our souls... 

Also, sci-fi geeks, look out for the cast of BSG and Dollhouse and for the Wayne Enterprises and LEXCORP logos dotted around!

UK release date: 14.06.13
Certificate: 12A

STAR TREK INTO DARKNESS

Since his vision was released upon the slightly sceptical world back in 2009, writer/director (saviour) J.J. Abrams has come a long way. His Star Trek gathered both old and new fans alike into the camp of "exhilarated" and made its sequel one of, if not the, most anticipated films of this year. So before he makes the "Force be with us" all over again with his Star Wars Ep VII, let us "boldly go" with him once again Into Darkness...

As is the way, this entry into the Star Trek cannon, will be compared to not only its predecessor but to the original outings of Kirk, Spock and the rest of the Enterprise's crew - and with a certain adventure specifically. More on that later.

Abrams first foray into Roddenberry's world saw him introduce the characters whilst using the new time line plot to show off their slightly altered personalities. Here, with the core characters already in place, the task is to further build upon the bond between them and accentuate their now different life stories. This focus is primarily aimed at the burgeoning friendship of Pine's Kirk and Quinto's Spock. As the film progresses, so to does their banter, bickering and bromance. Kirk has the journey of becoming a Captain worthy of the legacy left by his father and Spock meanwhile has the journey of acknowledging and embracing his human heritage given by his mother.... so it's more like Into Deepness than Darkness in a way.

Now, don't be fooled or alarmed by that last sentence. This is not really as the title suggests a "dark" affair. This is far from it. Like Joss Whedon, J.J. Abrams brings fun and excitement onto the menu along with the side dishes of tension and death. If someone needs to die to further the plot, then die they will. Like his idol Spielberg, Abrams knows how to put you through the emotional wringer and have you roller coastering from laughs to shocks to gladness and then back again through sadness. Here, laughs are shared more throughout the cast than the previous journey of the U.S.S. Enterprise. The bickering of Kirk and Spock remains one of the films comedic building blocks, but upon that the rest of the crew get to bring their gag reels with them - Pegg's Scotty sees the homage to the original performance of the Engineering Officer take it up a notch (but sadly still no "she can'ne take it C'apn. I doen't have the powwer!") Cho's Sulu gets a taste of the chair and likes it and Yelchin's Chekov (the character with the least to do this time round) gets to fake confidence to his superior in the face of danger. That leaves only two other central crew members. It is their spotlight moments that show the cleverness of the script which does something surprising and very, very well. Saldana's Uhura isn't confined to the comms desk with the blobby bit sticking out of her ear - she gets to go on away missions, fight baddies but best of all, gets to have relationship arguments with her boyfriend - Spock. The three-way argument in the shuttle between them and Kirk (the awkward 3rd wheel who's dragged into the discussion) is comedy gold and makes you unprepared for the action sequence that directly follows it - that roller coaster ride feeling again! So that keeps the newbies to Roddenberry's universe happy and glad that they've come back for seconds. It's Urban's McCoy that underlines the cleverness of the script.

He is the one that sticks out as the direct link to the original series - the Trekkie's lifeline and pacifier. His many variations of "I'm a physician, not a ...." callback to the 60's TV show but help with a shocking revelation - normal  cinema audiences are quietly being turned into Trekkie's. They might not realise it, but this journey of the Enterprise has so many references to the world of Star Trek gone by that it's hard to count them. Normal people are sitting there watching the events unfold whilst sitting around them Trekkie's are feeling them slowly being seduced and moving over to the darkside (mixing metaphors and Star Wars/Trek deliberately there!) There is one MASSIVE callback to the origins of Trek's world but to reveal that here, without warning, would be sacrilege. If you wish to know it, the spoiler review will be below the trailer.

Now, there are other callbacks and not all of them are to previous connected works. Not unlike James Bond, Into Darkness has an opening sequence that is a totally separate adventure from the main story. I say James Bond, but to be honest, it's Raiders Of The Lost Ark - Abrams' nod to Spielberg again. This sequence has the forest, the chase, the spears but instead of an idol we have a submerged Starship and an overactive volcano. And a fantastic opening sequence that raises the bar so high that you wonder how the rest of the film will live up to it.

But, it does. Spectacularly. And part of that success goes to Cumberbatch and the introduction of a classic baddie that isn't a baddie. But then is. And then isn't. And then...oh, you get the picture. His portrayal of agent-gone-rogue John Harrison is cold, calculating and at one point when he's behind a glass prison cell, quite Hannibal Lecter-ish. You even hang on every quietly-spoken word of his whilst he and Kirk do brains-battle to see if he's going to have his "liver with some fava beans and a nice Chianti." Of course, such an impression would not be part of Abrams style and it never goes beyond a quick moment of recognition, but Cumberbatch gets to create his own standout villain - a man who can take out a mass of foes (human and non-human) single handedly all whilst looking immaculate apart from his moppish hair. His presence and memory impact on the viewer is ten-fold of what Eric Bana was able to do with his Star Trek baddie Captain Nero which was the only slight niggle of the entire film so it would seem that Into Darkness has risen above its predecessor. And rightly so.

Now that he has Star Wars to do, there could be a chance that this is Abrams final foray into the final frontier. If so, which I mostly sincerely hope is NOT the case, then he leaves Star Trek in a place that many thought not possible - new and old fans alike, together in appreciation of a vision that has been reborn and yet still holds a torch and a mirror to its origins.

The Best Fun You Can Have In A Cinema With Your Clothes On This Year! Brilliant!


UK release date: 09.05.13
Certificate: 12A

SPOILER ALERT REVIEW!

You have been warned - do not read unless you've seen it or don't want your world rocked whist watching it!

What Abrams and writers Lindelof, Orci and Kurtzman have done is something wonderful, and to this reviewer, thought once impossible. They have taken one of the most respected and loved Trek films and literally rewritten it. The realisation of who the new characters are what their roles mean to the Trek legacy is gasp-inducing as the makers drip feed you clues then in Oz style, pull back the curtain for the "Ta Da!" moment. The second "new" Star Trek film is a rewrite of the second "old" Star Trek film. This is a new generations The Wrath Of Khan and it is bloody brilliant!

But of course you can't just replay the events of the mighty Khan - old Trekkie's won't stand for it. So, all the events that you know do happen, but, not in the order you remember OR to those you expect. Back To The Future II was one of the cleverest sequels penned with its revisiting the first films timeline and observing it but Into Darkness joins it on that podium, however for very different reasons. It's a sequel but also a kind of reimagining of its natural parent film and in that sense it does too revisit the timeline but alters it just like Marty McFly once did... Things will not be as you remember them but it seems that destiny does have a sense of irony. Like with Final Destination, you can try and cheat the outcome but it seems that some events are written in stone. The Enterprise will be crippled. Someone will die to save the many. And someone will realise the meaning of friendship all too late. And you will be hooked. End of.

IRON MAN 3

And so it came to pass that "Phase 2" of Marvel's plan to rule the world  via the medium of the box office began with the continuing story of the character who started "Phase 1" back in 2008.

Returning to the suit (rumoured for the last time now that his contract is up), Downey Jr this time is under the direction of a new helmer to the World Of Marvel. With original director Favreau now just in front of the camera as Stark's upgraded from-bodyguard-to-head-of-security sidekick, it's the turn of Shane Black to help shape the world of Tony Stark, billionaire playboy who "builds neat stuff and occasionally saves the world."

Black and Downey Jr who previously worked together on the underrated Kiss Kiss, Bang Bang, show all the spark, wit and downright questionable laughter that they delivered on their first project together  here on the more personal story of Iron Man in its third outing. For those who know Black's work, all the things that make him "him" are present and correct throughout his latest. Like his previous efforts (Lethal Weapon, The Last Boy Scout, The Long, Kiss Goodnight, Kiss Kiss, Bang Bang) the story takes place around Christmas; there is a voice over to help proceedings along and there are some cracking lines of dialogue for you to try and remember so that you can quote them back to others and feel cool whilst doing so.

Yep, Downey Jr's natural swagger and Stark's coolness have just been given an illegal dose of Black's cultdom and it's a match made in heaven. As Kingsley's The Mandarin states to the US President via one of his many Bin Laden-esque video messages, you, as an audience member "will never see them coming" with what they have in store for you during its 130 minutes running time. More on him in a moment though.

The challenge facing Iron Man 3 is more than just being better than its predecessors (although that's not too hard when the below par Iron Man 2 is considered) - it has the task of being the first film released after the exceptional Avengers Assemble showed that under Joss Whedon, a superheroes film could be, well, super. And with all the superheroes having interacted and now aware of each other, the challenge  here would be to find a story that would only involve Iron Man and not the likes of Thor, Hulk or Captain America. The way that Black and co-screen writer Drew Pearce have gotten around this is simple  - make it personal - "no politics here, just good old fashioned revenge." With this personal edge now in place story-wsie, we are able to see the cool swagger of Downey Jr/Stark get stripped away - along with his suit - and have him try to build things back up from scratch... his composure, his strength, his trust and love in others and a back-to-basics suit just like the first time we saw him held captive in a cave, have to be built up from scratch. It's Tony Stark's fall from grace and his rise from the ashes as the premise. He may have helped save Earth with his newfound superhero chums, but the dying in the process has weighed heavy upon his mind. This makes him feel more real to the viewer despite his Malibu pad, his millions and his suits - of which they are plenty!

Downey Jr as expected is a star and this time gets to play off a few people - notably Cheadle - "it's WarMachine rocks...with a Z" - and a smalltown boy that gets just as good as he's given in the banter stakes, but the real other main shining star who gives Downey Jr a run for his money is Kingsley. His performance of The Mandarin, once the plot has moved on to its big reveal, is brilliantly executed.

A confidence-boosting start to Marvel's "Phase 2" of its universe, Iron Man 3 sets the bar for Captain America 2 (Captain America: The Winter Soldier) and Thor 2 (Thor: The Dark World) and only adds to the already building anticipation that will be Avengers 2.

Cool. Neat. Go see.

UK release date: 26.04.13
Certificate: 12A

WRECK-IT RALPH

Computer games and its entertainment rival, the cinema, have never really got along. The more money-making games market has never had  the same success when one of its own has transferred across to the silver screen. Many still shudder at the thought of Super Mario Bros. and Street Fighter which led to the decline in the cross-over genre.

However, Disney have appeared to look into their back catalogue for inspiration and a way to avoid replicating the likes of Tomb Raider and have gone the Tron route - not a existing game but a make-believe one and going inside it!

And, for the most part, it works.

Here with Disney's latest animated offering, just like you would expect to find in a Pixar or an Aardman production, the attention to detail is off-the-charts. Any game-junkie will have a field day in spotting the many cleverly hidden in-jokes and references littered throughout Wreck-It Ralph. And, if you're an adult that grew up with arcade and console games then your nostalgia will well and truly be stoked as pretty much all the old classics get to make an appearance one way or another - Space Invaders, Frogger, Q*bert, Paperboy and Pac-Man all get their moment in the sun along with more recent fare such as Metal Gear Solid, World Of Warcraft and Portal. It even boils down to small-but-significant details such as: everything in Fit-It-Felix and Wreck-It Ralph's environment is all square and rectangular as his game is an old-and-dated 8 bit  model (check out the lamps etc) and everyone in it moves stiffly just like they did in the games of old. Even a "soldier" from the Halo-esque Hero's Duty reenacts the move that all people have done whilst playing a first person shooter - walking into a wall and unable to move away from it straight away.

Yes, attention to detail is paramount here but there does feel like a slight lack of this concentrated effort where the rest of the film is concerned. Pixar has always been able to blend humour for both the adults and their children in the audience, creating fun moments for all to enjoy and remember. Here, this balance is not necessarily evident, especially where the older folk are concerned. Yes there are moments for the adults - a clever rift of The Wizard Of Oz's castle guards ("oh we oh, Oreo") a Darth Vader breathing sound joke and Jane Lynch's wonderful "programmed with the most tragic back story ever"commando comment, but these are few and far between. Kids are, rightly or wrongly,are the ones mostly catered for with slapstick, toilet humour ("Why did the Hero flush the toilet? Because it was his Doodie!") and loud noises and bright colours.

Wreck-It Ralph is a great kids film but its not a classic family one. The people that will remember the multitude of in-jokes and 8 bit references that are littered throughout the first half of the film (mostly based around Game Central) may find their attention waning after Ralph game jumps into the likes of Hero's Duty and Sugar Rush which is where the children are then catered for with the figurative sugar rush of noise, colour and poop jokes. So, not a GAME OVER but you may think twice if the screen were to ask you to insert another coin TO CONTINUE....


UK release date: 08.02.13
Certificate: PG

TOP 20.1/2 FILMS YOU SHOULD HAVE SEEN THIS YEAR - 5 through to 1

And so here are my top five films on the year that saw both good and bad in equal measures...

5. Looper

Maybe a tad too clever for the popcorn pundits, Looper delivered to the screen a head-scratching, mind-bending experience not unlike the first The Terminator did upon its initial release.

It also proved that Joseph Gordon Levitt could pass as a younger Bruce Willis as the concept of a man trying to both save himself AND kill himself at the same time gave one of the years most brain teasing times in the cinema.

4. Skyfall

Originally the idea of Sam Mendes helming Bond's anniversary outing was met with much sneers and confusion. Now, looking back, it is easy to see that Mendes was a perfect choice as many consider Skyfall as one of 007's finest missions.

With enough respect and nods to the past whilst carving out a new future, it has become the highest grossing Bond of all time and set new records in the UK and across the world.

3. Life Of Pi

Ang Lee showed that there is no such thing as an unfilmable book. Having already shown that he could easily tackle the greats such as Sense And Sensibility, Lee turned to the tale of a tiger and a boy sharing a lifeboat for 200+ days adrift in the Pacific Ocean. 

Stunning graphics, and effects that are indistinguishable from live action, Life of Pi became, along with Hugo, the standard of what 3D could and should look like.

2. The Dark Knight Rises

The expectation of Chris Nolan's final instalment in the Dark Knight trilogy was off the charts! With the previous outing considered to be the finest superhero film committed to celluloid and one of the best sequels ever made, the task that lay ahead of the cast crew was staggering. Lucky for them, and of course us, that they blew those barriers clean away.

A perfect trilogy, The Dark Knight rises with the inclusion of Catwoman and Bane did not overload the film as so many others before have experienced with adding to many characters into the mix.

True spectacle for the more intelligent viewer.

1. Avengers Assemble

Quite simply, the most fun you cold have in the cinema - that's legal and decent of course. Joss Whedon showed that when it comes to the tricky task of ensemble pictures, there is no one better than he.

Avoiding what could have been the Ironman and friends flick, Whedon gave each of the characters time and room to shine and more importantly interact with each other - no one who saw it will forget the Tony Stark and Bruce Banner bantering.

A box office killer, Avengers Assemble did not disappoint and lived up and exceeded its potential. All hail Whedon!

So, that completes the Top Films  for 2012. The list this time was hard to do with at least a few more nearly making it in until the last moments.  Those films were standout for different reasons but in the end there are only ten places so you just have to do a Sophie's Choice and await the backlash!

So, over to you!

TOP 20.1/2 FILMS YOU SHOULD HAVE SEEN THIS YEAR - 10 through to 5

Now with the clarity that can only come from people having to get ready to go back to work and having detoxed from alcohol after New Year's celebrations, it's the perfect time to look back upon the year that was 2011 and the films that graced our screens...

BEST 20.1/2 FILMS OF 2012 - 10 thru to 6

10. Silver Linings Playbook

A film that not only dealt with its two main characters both suffering from different forms of mental illness, it portrayed them with respect and humour but never once belittling them and their personal battles or dumbing things down for fear of alienating the audience.

Silver Linings Playbook was one of those experiences that made you feel all the better for having watched it. It also helped that both Cooper and Lawrence gave outstanding performances and the supporting cast surprised all by DeNiro not coming across as if he was "phoning it in" and Tucker not going OTT.

9.Brave

 From the people that can seem to do no wrong, it was none-the-less a big step for Pixar to have their latest concern itself with people as leads rather than in the background AND to have a female as the central character.

They and audiences needn't have worried. Brave showed that Pixar is still king when it comes to characterisation and fun for everyone of all ages - jokes for the older folks and quips for the kids were still present and correct.

8. Argo

 Remember the time when Affleck was just one of the other halves of either Damon or Lopez? Well those days are truly long forgotten as Affleck delivered another fantastic piece of film with his "based on a true story" drama that had bucket loads of suspense, drama and nostalgia.

Awards will be headed his way no doubt.

7. The Cabin In The Woods

From the mind of Whedon, this was a film that played up its teen slasher premise to the extent that its true nature may have been lost on those who went to see it thinking it was just a teen slasher movie!

Clever, funny and subversive, this was a film that refused to be pigeon holed into a category and left those without an open and quick mind behind in its wake.

6. The Raid

A Welsh man and an Indonesian walk into the movie making industry... Sounds like the beginning of a joke but it was infact the beginning of a wonderful relationship that gave those lucky enough to see it a truly breath-holding experience.

Relentless and genius, this showed the big budget makers how to make a movie that could please all.

The countdown will continue with 5 through to 1.... What have you seen and what do you think should be included?

TOP 20.1/2 FILMS YOU SHOULD HAVE SEEN THIS YEAR - 15 through to 11

And so here continues the countdown of my top films of the year...

15. Headhunters

If you didn't get to see the little film that had big ideas and a nail-biting plot, then see the original before the inevitable Hollywood remake. Clever and damn funny, it proved that good actors and not A-list stars can keep an audience enthralled hook, line and sinker.

Slickly cool, if only short (watch it and you'll understand!)

14. The Descendants

Is there nothing that the Clooney cannot do? Yet again, him off of E.R. proves that he is not only bankable but dependable in this quiet tale of a husband having to reconnect with his family after his wife slips into a coma. Heart strings are deliberately pulled but in such a way that you don't care - you only care about the people up on the screen.... and that's quality film making.

13. Beasts Of The Southern Wild

Despite looking like a documentary, Beasts Of The Southern Wild wasn't. This little film that stood head and shoulders against all the action and adventure faire at the cinemas - a feat not unlike its central character. If you failed to fall in love with the little girl who lives with her daddy in The Bathtub during a massive flood, then go see your local mortician!

12. The Hobbit: An Unexpected Journey

The expectation for Peter Jackson's return to The Shire was hard to quantify - it had been so long coming that there could be a fear that the film wouldn't stand a chance of living up to the hype. Nonsense dear boy! The wizard wasn't late - he arrived in our cinemas att exactly the time he wished to and blew all out doubts away! So, fly you doubters!

11. The Hunger Games

Who would have thought that a book aimed at young girls could be turned into a successful film? Yes, Twilight did that. However, The Hunger Games proved to pull off an even more impressive trick... boys liked it too!

With something for everyone, the box office receipts led the way to the second and third books being green lit into films as well. Katniss and Peter's story will continue, and the world will be watching!

So, onto the next batch....

TOP 20.1/2 FILMS YOU SHOULD HAVE SEEN THIS YEAR - 20 1/2 through to 16

Now with the clarity that can only come from people having to get ready to go back to work and having detoxed from alcohol after New Year's celebrations, it's the perfect time to look back upon the year that was 2012 and the films that graced our screens...

BEST 20.1/2 FILMS OF 2012 - 20 1/2 thru to 16

20 1/2. This Means War

Just before they hit BIG TIME, the new Captain Kirk and Batman's new enemy Bane, teamed up in this light, frothy but none-the-less hilarious spy spoof that pitted both against each other when they fall for Witherspoon's indecisive blond.

Great chemistry between the three helped for the audience to continuously change who they were rooting for throughout the misuse of America's Government Agencies as each guy tried to outdo the other.









20. Warhorse

Spielberg once again proved that there wasn't anything he couldn't turn his hand to - even a stage play that once seen, invokes an air of certainty that the same feelings felt whilst watching it could not be transferred onto the silver screen. They were wrong.

Emotionally strong, visually stunning, his depiction of a boys and a horses struggle to survive a World War is a breath taking experience.











19.Moonrise Kingdom

From the usually strange mind of Wes Anderson, this tale of young love and the unusual situations it has to endure is pure gold right from the get go. More accessible than his previous films, Moonrise Kingdom is part sweet, part absurd and part kooky.

The big stars all play second fiddle to the children actors who steal the show despite Edward Norton's best role in ages as the Scout Leader caught up in a young lovers pact to be together.

18. Ted

For those who either loved or hated TV's Family Guy, its creators first foray into film - Seth MacFarlane - had a strong gut reaction to its announcement and its premise - a teddy bear that comes to life but still exists when its owner grows up.

Surprisingly touching and able to bring a few tears to the eyes, Ted was laugh out loud funny throughout with its humour and language both close to the bone. You wouldn't expect nor want anything less though.

17. The Pirates! In An Adventure With Scientists

The team that brought us Wallace & Gromit, Chicken Run and Flushed Away are simply put - geniuses. This does not alter that fact in any shape or form! Brilliantly balanced for both old and young alike, its depiction of luxurious beards roaming and plundering the high seas is a delight from absurd beginning to fantastic finale.

Arrrggg!

16. The Muppets

A film about AND starring The Muppets hadn't been around for a long time. This fact is cleverly played upon with them trying to regain their waning popularity in order to raise money to save their old theatre. The human cast are fantastic - Segal and Adams are wonderful as the couple who seem stuck permanently in the 1940's - but lets be honest, as good as they are, its The Muppets you've paid to see and with such gags as Fozzie's Fart Shoes, they did not disappoint!

The countdown will continue with 15 through to 11.... What have you seen and what do you think should be included?

LIFE OF PI

Unfilmable. There are many books that are held dear to those who have read them and consider their favourite tomes as impossible works of art that would be unable to be committed to celluloid.  For anyone who has read it,Yann Martel's The Life Of Pi is one such book.

Then again, Ang Lee is not the kind of individual to be put off by such trivialities! The Taiwanese directer who has delivered outstanding works in both his native tongue - Crouching Tiger, Hidden Dragon - and in the West - Brokeback Mountain - has yet again turned his attention to literature. His Sense & Sensibility showed an understanding of remaining true to the source whilst making his own mark on the work and here, with some of the most beautiful 3D imagery committed to celluloid since Scorsese's Hugo, he has truly made this a sight to behold and cherish.

Even with the story of how someones faith in God is tested and eventually rewarded against all the odds, Magee's adapted screenplay and Lee's camerawork combine beautifully together to let you explore the possibility of "faith rewarded" and God on your own terms - it doesn't cram it down your throat forcing you to believe... you can read into it what you will and, like the reminiscing Pi says, "you can chose to believe or not."

The first third of the book dealt with Pi's multiple-conversion to every religion he came across whilst growing up in "one of the most beautiful places on Earth - India." Wisely, Magee's screenplay covers the religious aspect of the story humorously yet respectfully ("I want to be baptised" at the dinner table) in the first 20 minutes through the aid of flashbacks, and then delves head into the real reason why the audience, and Rafe Spall's inquisitive writer are there in the first place - the story of his younger self stranded in a lifeboat with a 3 year old Bengal tiger in the middle of the Pacific Ocean. You may not believe in God by the end of Pi's tale but you will want to have shared his experience, however fraught with danger it is.

Without giving away too much, Pi (delightfully played with initial wide-eyed earnest and then forced maturity through unfolding events by Surja Sharma) and Richard Parker (the Bengal tiger named that through a clerical error) are not alone on the lifeboat and the harsh realities of the circle of life are played out in the small floating arena against various backdrops - a raging storm and then the calmest, most astounding sea you could ever hope to see. It is these striking images that make their mark upon the viewer - an endless reflection of sky and sea with a bland white boat floating between the reflective  two holding the the beauty and majesty that is the tiger with his orange and black colouring sitting so out-of-place in these surroundings.

Before going any further, this is the time to emphasise exactly how stunning this film is. Normally, a lengthy description on the effects would lean towards the fact that the story, its depiction or the acting is below par as it seems all efforts were placed into the special effects alone. Here, simply put, is a truly beautiful film that could not have been made probably even a few years ago. Even for this trained eye, spotting the difference between the real tiger and the "had to have been used" CGI tiger is virtually impossible. This effect has the affect of not only drawing you in, but helps you to fall in love with a creature that you should fear and not care for. It is that good! The balance of power that continually shifts between Richard Parker and Pi both in and out of the lifeboat helps you to root for both at separate moments whilst still not wanting the other to suffer too much. Not many films can boast manipulating your allegiances and love between an animal and a human - and no, not even Turner & Hooch can pull off what Lee achieves here.

One way that the audience is so easily pulled along by its heart strings is through the films abundance of humour. Forget the absurdity of the premise of a boy and a tiger fighting for dominance on a lifeboat - the marking of the territory by urine is both clever and hysterical but shows the valuable lesson of never going up against a tiger in a pissing contest - it's the learning curve that Pi has to go through in order to survive that conjours up smiles and laughs. His diary of how to train a tiger at sea is delightful - "point 5. Ignore all the other points," after Richard Parker nearly has a meal made entirely out of Pi.

The use of flashback allows you to catch your breath and take on board not only the enormity of the situation and the various solutions that both work and don't - taking all the supplies of the lifeboat for safekeeping and storing them on the makeshift raft away from Richard Parker seems like a good idea at the time until the dazzling display of the luminous whale - but also the visual creativity and beauty that seeps from pretty much every frame of film.

A genuinely feel-good film, The Life Of Pi is one of the most beautiful 2 hours you could ever hope to spend in the cinema - both visually and spiritually. And if you don't want to go stroke a tiger afterwards or discover an island of meerkats that don't utter the phrase "simples" then there is no hope for you. Believe.

UK release date: 20.12.12
Certificate:PG

THE HOBBIT - AN UNEXPECTED JOURNEY

It's taken so long - even longer than Frodo's journey to Mount Doom it seems. But finally after what seemed like insurmountable odds, the first instalment of The Hobbit has arrived. Peter Jackson, the director, co-writer and all-round orchestrator of things that are cinematic Tolkien, once again took up the directoral reins after chosen director Del Torro was forced to bail after all the complications involving legal rights and the fall of MGM kept pushing back the shoots starting date. The Hobbit was facing a fate not unlike the one that befell Bond's Skyfall. That however, benefited from the delay with more time to prep the adventure.

Fate though, it seems, has given Jackson the chance to finish what he started back in 2001 with The Lord Of The Rings: The Fellowship Of The Ring. So, the question here is: has he pulled another success out of the bag or has his obvious love for Tolkien blinded him to the level of over-indulgence? Well my precious...

Sequels. Prequels. Audiences want more of the same but something different as well - all at the same time. Jackson's first of the now scheduled three forays into the story of Bilbo Baggins' adventure away from The Shire amazingly manages to pull off both of these polar opposites.

The "more of the same" aspect sees a remarkably similar structuring to Fellowship Of The Ring. We are given all the required back story via a prologue monologue - this time it's Ian Holms' older Bilbo rather than eternally beautiful Cate Blanchett's Galadriel imparting the relevant history. Nearly three hours later we then have the hero shot as the gallant band observe their destination from quite afar - both times a mountain in the distance with the distinct message to both them and the audience that there is still yet a long way to go... two films worth to be precise. Then, finally, a quick shot of an eye that will definitely cause the band of heroes much trouble when it sees them, despite their belief that "the worst is behind them."

Inbetween these two momentous bookends, there is much to see, and marvel at, along with breath-holding and laughter. Infact, there is quite alot of laughter to be had. The story of The Hobbit was one aimed more at the younger reader whilst the lengthy gap between that and it's sequel-of-sorts - The Lord Of The Rings - helped to create an overall more maturer and darker tone within its pages. These have been accurately reflected here with Jackson's body of work concerning Tolkien's works.. His Hobbit is an altogether more upbeat and jolly affair. Most of this comes from the larger-in-numbers  main cast and all their interactions with one another - after all, as Gandalf says, "they're quite a merry gathering." It's this lightness that gives those seasoned viewers the something "different" to make the time, effort and money that they have spent to view The Hobbit all the more worthwhile.

With this lighter, more smile-inducing tone, there are still sequences that feel like a distinct parallel to its "60 years" later continuation. Fellowship.. had the chase and escape through the mines of Moria whilst here there is a just as frantic run through the hordes of goblins deep underground in Goblin Town. The younger, more agile Gandalf has a more "hands on" approach here than he did in The Lord Of The Rings trilogy, with some nifty moves involving his wizards staff which could easily place him in a Star Wars prequel if they gave him a lightsaber to wield instead.

This, however is not Gandalf's tale - it belongs squarely with Bilbo and thusly with Freeman who was always first choice for the role. Some, and only a few, may find it hard to reconcile with Tim from The Office as the main man/hobbit in a full-on fantasy epic that cost and will make back millions of dollars, but the simple truth of the matter is that just as Gandalf did, Jackson and Del Torro chose wisely. Freeman's "down to (Middle) earthiness"- pun intended - and his slight self-depreciating manner make him to easy to connect with and then of course, root and care for. When he finally gets the chance to step up to the plate and prove to the doubting leader of the Dwarves that he does belong amongst them of their dangerous quest, you'd be forgiven for wanting to punch the air with delight and whoop for joy.

If Freeman carries the weight of the film upon his shoulders, it is Jackson's regular cohort Serkis, that helps deliver the films best sequence - the most satisfying, funny and creepy one possibly of all of the Middle Earth's stories so far. The battle of riddles between Serkis' Gollum and Freeman's Bilbo deep in the mountain is in turns laugh-out-loud funny then disturbingly chilling as Gollum decides that he's had enough of games and wants feeding as "we'ves never tried hobbits'."

There has been talk and backlash that the film suffers from excessive filling ever since the announcement that the two films would become three and that there is unnecessary information put in just to help them make us see a trilogy rather than a duo. Nonsense. All information here helps to bridge the gap that would make the linking of these films with the existing ones that much more fluid and understandable. Even if you disagree, here the time and the journey simply flies by leaving you once again on that in equal parts great but annoying cliffhanger.

Mr Baggins, we look forward to the rest of your journey, there and back again.

UK release date: 14.12.12
Certificate: 12A

DREDD 3D

1995 saw a small but significant percentage of the population act as if their hearts and souls has been ripped out for something as superficial as profit. The hated Danny Cannon film saw Stallone's Judge Dredd not only try to appeal to the younger audience through humour BUT even more unforgivable, remove his helmet and show his face.

Fans of the 2000 A.D. comic hero did not take this sacrilege lightly and Stallone, Cannon and any chance of a sequel were promptly laid to rest. Judge Dredd had become a victim of his own quick routine of "judge, jury and executioner."

Take a jump 17 years into the future and director Pete Travis seems hellbent on making sure that his version of Mega City One's finest does not end up the same way. For a start there's no A-list celebrity cast as Dredd who doesn't want their face hidden behind a mask/helmet the entire film even if that is an integral part of the character. Step up Urban who, with his stints in Lord Of The Rings and The Bourne Supremacy, has shown he can do both heroism and detached killer - the perfect combination for the feared and fearless Judge Dredd.

The other way that Travis and screenwriter Garland make their incarnation independent is by fully embracing its 18 Certificate. No "distant deaths" are displayed here - blood and guts are the order of the day, in full blown 3D. Bodies are skinned and thrown 200 storeys down  onto hard, unrelenting concrete; a henchman's throat is clearly broken and punctured from a run in with Dredd; bullets rip through faces and bodies in comic-book coloured "slo-mo" to reflect the effect that the films drug has on its users - the brain slows down to 1% it's normal date therefore the users feel and see all in slow motion. Picture The Matrix's "bullet time effect" and add bright red blood to the equation and you get the gist. The introduction of Headey's MaMa villain (as beautifully rendered in the trailer) sitting in the bath with simple hand movements causing a glittering monsoon upon the screen, shows just how stunning the affect can be when not depicting the OTT violence.

Headey, who knows how to rock the "evil bitch" role from Game Of Thrones, is never given the scope or the dialogue to recreate another great-to-hate character, as most of the time it's her minions that encounter Dredd and his rookie- on-assessment, Anderson. MaMa sits and waits mostly in her penthouse for the cop and his rookie to make their way to her as their only way out of the looked-down block after her tannoy announcement for everyone within to bring her their heads. For those of you who read these reviews regularly, this will sound more than familiar - it's pretty much the plot for  one of the best action films of this year: The Raid. Due to one of those frequent unfortunate timings that seems to hit Hollywood where, like buses, 3 films come along about the same time that all appear to be so similar, Dredd's main plot runs like the Korean action flick, even down to the main villain broadcasting the presence of the heroes and demanding their deaths. The main difference though between the two is that The Raid rarely lets up on the shocking-action-front whereas Dredd takes moments for some characterisation - not for Urban's Dredd obviously, who grunts and minimum-sentence utters his way through the film but for Thirlby's psychic rookie who with each bullet fired moves from wet-behind-the-ears to serious Judge material.

Alot more fun than you feel you should have what with all the slo-mo deaths and blood galore, this new version of Dredd is, like X-Men was, a decent start at a franchise that leaves you curious and happy for another visit to its realm and characters. Contained in just a small portion of Mega City One, readers of the comic strip will know that there is so much more that can be used and abused in any sequel - all they have to do is keep Urban and Thirlby onboard, keep the helmet on and keep the mystery of the man that is Dredd...  No flashbacks, no delving into his past - just present him as the mean, lean judging machine that he is.

He is the law!

UK release date: 07.09.12

Certificate: 18

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