HITCHCOCK

So, we all know that buses come along in threes. We also know that the movie industry has a similar trait where rival studios seem to try and bring out the same type of film sometimes only months apart from each other.

Spielberg's latest saw him focus on a (US) national treasure and rather than a full bio-pic, he concentrated the camera on just one chapter in the life of Lincoln. Well, here's your next bus pulling up!

Hitchcock, like the Berg's ode-to-the-stove, presents no back story nor events that preceded the focus of the cinematic story. You either know things that took place before the projector starts running or you don't need to know them to understand and appreciate what is about to be revealed.

And like Lincoln, what is revealed is, not unlike Hitch's Saul Bass' opening credit sequences on his films, strangely mesmerising.

Considered one of the industry's finest (or for those who wish to argue that point, then "most known") directors, Rebello and McLaughlin's screenplay focuses on the large man's struggle to deliver what would become his most greatest critical and financial success - Psycho. Aficionados of the man Hitchcock may find that this telling of the battles between him and the studio along with his more personal battles a tad "over simplified" but then for them there is the films source - the book Alfred Hitchcock And The Making Of Psycho. For the rest, Hitchcock the movie is an insightful, and like the persona that he presented in his many ditties direct-to-camera on his TV show and in his trailers, a somewhat playful observation on events infront of and behind the camera.

The playfulness comes from the films two heavy-weight (and in the case of Alfred himself, over-weight) leads that, whilst still delivering very powerful performances, appear to have some fun with their roles. Especially when sparring against each other over the jealousy's concerning their partners possible infatuations and infidelities. What you get, and what you so quickly begin to accept, is the dynamic between these two with Mirren's Alma easily guiding Hopkins' Alfred towards Psycho's greatest discoveries and moments - the casting of Perkins and Leigh; the death of the leading lady much quicker than half way through for increased shock value. When she argues that she's been there for him over three decades of his movie-making, you believe it.

Like day-Lewis' performance in Lincoln, Hopkins' helps carry the film on his capable shoulders with the rest of the cast bouncing off of him ever-so-easily. Johansson as Leigh nails the "Hitchcock blonde" trying to remain professional around the man who notoriously had a unrequited thing for them whilst Biel as the example of how cold the man could be if he felt abandoned by them has to float in the background, ignored by her once biggest fan.

First major motion picture director Gervasi (his only directing so far was the documentary Anvil!) has fun playing with the camera, allowing it to move as if Hitchcock were directing himself - the long pan down through the rain across a neon-lit cinema, the fast edits when Hitch shows how the shower scene stabbing should be - which helps add to the feel that this is not only about him but could be made by him.

Enlightening, entertaining and overall a fun reenactment of a serious part in Hitch's life story, it is a film worthy of watching, which if you do, you will surely have, as he used to introduce himself, a "good evening."


UK release date: 08.02.13
Certificate: 12A

ZERO DARK THIRTY

Think back to a time, not that long ago, when females were mainly allowed only in front of the camera, and not behind it. That began to change when Kathryn Bigelow started to deliver the likes of Point Break and Near Dark. Then, not only did she fully prove that a woman could direct, but that they could also encroach on territories normally associated only with men - action-based films - and that they could also win awards whilst doing so. Her The Hurt Locker put her up against her ex - James Cameron - at the Oscars, and she won.

Now Bigelow has returned to the genre that placed her firmly on the map and once again delves into the world of modern warfare. Except this time she's bringing abit more realism with her - more fact than fiction.

Not unlike TV's Homeland, here we have a strong female character with what appears to be a lifelong obsession that dominates her every waking and sleeping hour. On the small screen, Claire Danes' agent is driven by the feeling that she could have helped avert 9/11. Here upon the silver screen, Jessica Chastain is seeking closure on 9/11 by wanting to help close the book on the worlds largest, and what feels like as the events unfold, the longest manhunt ever.

Based on reports, accounts and documentation from relevant sources, here the story is not a simple search and destroy mission full of adventure. Instead, we have years of trawling loads of leads with most of them becoming dead ends. At times Chastain's characters frustration can be felt by the audience as information about similar sounding possible terrorists is presented again and again with what feels like little or no purpose or resolution. But then, what should we expect from a depiction of a true life manhunt that took thousands of days and millions of dollars to complete? Here, it's not a" trace a mobile phone call" and send in Jack Bauer once the relevant info has been uploaded to his PDA. Sources appear and disappear, clues are proven and disproven. Leads are followed and some too late - the London bombings being one of the attacks that is, as we know, not prevented.

Here, all is presented in a very straight forward fashion, almost to the style of a documentary. Many countries are visited but as they tumble across the screen, some begin to blur into others as the seemingly fruitlessness of the investigation begins to take hold. Then, after around two hours of this, Bigelow stops with the documentary and goes all Point Break action on the audience.

With stealth helicopters, night vision POV's, gunfire and expendable Bin Laden protectors, the last 40 minutes feels like a totally different film from what has gone before. She also, whilst ramping up the action and the tension, sneaks in a brave but ingenious factor of doubt as you watch these Marines perform their duty -  is it as honourable as it should have been? Some actions are questionable but is that acceptable in the circumstances? The question is not answered but presented for you the viewer to make up your mind about it.

Great but not as powerful as The Hurt Locker, Zero Dark Thirty is a worthy addition to the ever-expanding and most welcomed cannon of Kathryn Bigelow.

UK release date: 25.01.13
Certificate: 15

LINCOLN

One of America's best known Presidents. One of America's best known directors. There is a lot to expect here from Spielberg's partial recounting of the tale of Abraham Lincoln - the man who Presided over two major life- changing events during his two terms in office.

Those being the amendment to abolish slavery and America's Civil War.

And during its 150 minute running time, there is never a moment where you think, or feel, that that level of expectation has not been met. From its "straight into it" beginning, through to its quietly sombre and reverent ending, Spielberg's Lincoln shows exactly why both its director and its subject will be long remembered.

This is a classic example of the bearded ones excellence at what he does (Spielberg) and yet, it isn't. The emotions that you know that can be manoeuvred and manipulated so easily are done so - frustration at setbacks, anger at stupidity, tears at both strength and sadness, laughter at smile-inducing dialogue - and yet the look of it feels somewhat alien to the man who so recently gave the world the likes of Warhorse and The Adventures Of Tintin. To fully appreciate the style used to bring Lincoln to the screen you would have to go back to Schindler's List where in the same year of its release,  he also did Jurassic Park. In comparison, Schindler.. was a maturer piece with camerawork, timing, exposition and gravity to match. This was a relatively new style for the Indiana Jones and E.T. kid. Here, that same feeling of noticeable unexpectedness flows through every well-crafted moment, whether it be focused on Lincoln the President or Lincoln the man. The camera stays put mostly to allow the events and words to sink in with the audience and only seems to move when it pans around Lincoln during his  prejudice-confronting, life-altering speeches. So, as the camera slowly moves, so to does the hearts and minds of those listening to it.

To help pull this off, the bearded one needs someone exceptional to play the "other bearded one" and in Daniel Day-Lewis he has just such a person. Whether you're a fan or not of Day-Lewis or his work, no one deny that here he seems to have found possibly his acting career highlight - for all intents and purpose, this is Lincoln up upon the screen. The likeness is unnaturally uncanny when compared from your memories of pictures and statues, and the mannerisms, voice and walk is just how you would imagine the great President to be. This tied in with the stirring speeches, the shrewd mind concerning his political enemies and his attempts at keeping his human emotions at bay concerning his different family members (love and frustration at his wife and her mental and physical illness, protectiveness and letting go for his eldest son who wishes to fight in The Civil War) all add up to a no-brainer for why he has been nominated for an Oscar.

Although he may carry the bulk of the film, he is not without some great support. Boasting a veritable list of recognisable stars from both small and big screen, there are a few scene-stealing individuals to marvel at alongside Day-Lewis. Spader as the secretly hired "obtainer of votes" to ensure the Presidents successful passing of The Thirteenth Amendment is as fun as he is graceless and loud - he is the only person to swear in front of Lincoln - but the real contender for your soul and affection is Lee Jones. Imagine if his Jerrard character from The Fugitive grew old and was transported back to 1865, then you'd be on the right track. Cranky, opinionated and relentless, Lee Jones both then and now, chews up and spits out all that share the screen with him with equal smile and wince-inducing dialogue ( his response to a knock at his door - "it opens!")

The only risk taken by Spielberg and co would seem to be the concentration of the time line in the film. The source novel depicted Lincoln's rise to The White House but here there is no back story nor is there any dwelling on his theatre assassination. It is all about the man and his struggle to have The Thirteenth Amendment passed before the opportunity disappears. Whilst The Civil War rages on forever in the background, that is where its kept. There is no Saving Private Ryan horror reenactment for the audience to be reminded of how bad things were - the horror here is the battle for what now seems so natural and understandable to us but back then was conceived as unimaginable and even a sin against God himself!

An emotional ride that you will feel glad that you watched, it is not one for the popcorn pundits looking for a no-brainer, switch-off experience. It holds a mirror up to the ideals and standards that were prevalent in 1865 but which however have not entirely been eradicated and shows you how strong men must behave and what they must do in order to stand up for what is right and to make changes.

Poignant. Powerful. Provoking.

UK release date: 25.01.13
Certificate: 12A

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?

ARGO

Think back if you will, or indeed, if you can. The name Ben Affleck. Causes you to smirk? Or think "that Matt Damon did alright for himself, wonder what happened to his mate?" Who would have thought that Affleck would not only come so far, but be so good?

For indeed he has. And is. Smirking is no longer an option.

With a steady slew on films on his CV that have both won critical and financial success, Affleck is a name that evokes a feeling not too dissimilar from Eastwood's when attached to a new release with his eye behind the camera and his face infront of it. One of anticipation and expectation - afterall, The Town and Gone, Baby Gone were fantastic pieces of work so can he replicate it again?

Simply put, yes he can. However, this is not the Affleck that we've been introduced to. There is no working class, family feuding drama from the streets of either his hometown of Boston or similar. Here he has truly spread his wings with the true story of the attempt to rescue six escaped American diplomats after the fall of their Embassy before the Iranians realise that they're missing. So, "how do we like them apples?" Alot.

Right from the outset, the attention to detail, or as the main American characters are trying to do here, the attention to deception, is outstanding. For a start there's the old style Warners' logo present from the very beginning. Then the filmstock used looks like it was filmed in the 70's to the point where the distinction between original footage and new is indistinguishable. At the beginning of the film, this confusion only helps to add to the tension felt by the viewer as the Embassy staff try to remain calm and follow protocol until the point where the front doors and windows are stormed by the worked-up crowd outside. And that's even before you've gotten to the beards and the flares!

Like the beards and the flares, there's two very distinct groups here throughout Argo - the Americans securely based in their sunny climate where all is suited-and-booted (albeit with back-stabbing, own-ass-saving motives) and of course the out-of-towners where the sun doesn't necessarily shine on TV and where the background of gunfire, hostile shouts and lack of sunshine is a constant reminder and threat throughout.

With careful plotting, depiction and narrative, Affleck and co place the story into three very different and recognisable categories - the suits in the American Government (CIA, The Whitehouse etc with this years unstoppable Cranston), the Hollywood Hacks (the sublime Arkin and Goodman) and the pawns in the bigger picture in Iran (the six fugitives and their helpers including the incredulous McNairy as the "you've gotta be joking?!?!" fugitive) - each with their own tone of lighting, mood and pace. It's not until all the three start to meld together in the final 25 minutes that everything becomes blurred to the point of nail-biting, armrest-grabbing anticipation.  It's been that well thought out.

Now, the issue with all "Based On A True Story" movies is that pretty much all of them are on the edge of far-too-good-to-be-true and leave you feeling that alot must have been embellished along the way to make it into a two hour-plus film. There is only one point throughout it;s entirety when Argo feels like the screenplay writers have stepped outside the boundaries of realism to help make an entertaining movie and even then it comes across as the Grandad to the finale of Die Hard 2.

A truly gripping piece of film-making, Affleck has proven that his last two previous efforts were not flukes and that he can now stretch himself away from Boston-based family dramas and is indeed truly a force not only to be reckoned with but one to be taken note of in the future. His handling on a subject that Spielberg would have considered is a testament not only to his guts but to his glory too.

Essential and downright enthralling viewing.


UK release date: 07.11.12
Certificate: 15

LAWLESS

Not too long ago, it seemed like the little-visited genre of the gangster/western had eventually had its time. Despite the star power of Johnny Depp, the well-publicised Public Enemies did not fare well at the box office, and the genre once defined by the likes of The Untouchables seemed destined to play the part of a ghost town once again.

It would appear that this is not what John Hillcoat wants. Having already directed The Proposition and the short Red Dead Redemption: The Man From Blackwater, Hillcoat still has a need to scratch his Old West itch. And praise the Lord that he did!

As many will atest to, the phrase "Based On A True Story" (when it comes to the cinema at least) can lean inevitably towards a huge helping of a cheese-fest with a dollop of "I don't believe it!" on the side. Fear not, for there will be no cause of indigestion by cheese here on Hillcoat's latest - your more likely to try and hold your meal down due to the violence that rears its head throughout its running time rather than corny-itis and eye-rolling.

To help you better understand where Lawless sits, try and picture a Hillbilly version of Goodfellas and you're pretty much there. The Ray Liotta role of "wannabe respected and feared manboy" is taken by the fresh-faced LaBeouf who, like his Italian American cinematic cousin, narrates his way through the proceedings for us. It is he that introduces his two older brothers - the two that he so desperately wants to impress and eclipse. Clarke  - the eldest brother - takes the Pesci role of the unhinged individual who you can count on, but only when it suits him and his moonshine intake. His violence is mentioned throughout the film but the acts of silent and deadly aggression that spill blood out onto the screen that is the most disturbing all belong to Hardy's middle brother, Forrest. The brains of the brothers, Hardy mixes the menace of his Bane (The Dark Knight Rises) with the confidence of his Eames (Inception.) LaBeouf may be telling the story but Hardy steals it. Completely. Despite wearing a natty grey cardigan, attached to a whisper of a voice and a grunt that equates to half of his dialogue, Hardy portrays a coiled tension which, with the aid of a knuckle duster hidden in his cardigan, breaches the still waters of conversation like a Great White. When he erupts, best step back and watch from a distance.

Of course it's not all about the violence. Cave's script is able to make the occasional nod to matters both relevant back then and now - racism, greed and corruption. These are supplied by the support cast of Oldman - a small part despite his billing but a significant one as it is he that sets LaBeouf off on the path to wanting to be a "Wild West Goodfella" - and Pearce, the dark heart of the film. Picture the albino that kills Connery's Irish cop in The Untouchables and the Secret Service Agent from The Frighteners and you've nailed Pearce's creepy, gloved, no-touching Special Agent from the Big City. Yes, he may be a walking cliche so as to help you side with the boys who are technically on the wrong side of the law, but he does it so well that it can be overlooked or at least forgiven. You will want his comeuppance before the end credits roll and you'll want it as painful as possible for him!

Overall, fans of Goodfellas may think it just alittle too close for their liking - LaBeouf even falls for and tries to impress the girl who knows she shouldn't be with the boy from the wrong side of town but can't help loving him, especially as he flashes the cash and shows her the sights - but its music and actors pull it away enough to have it as a side thought in your head rather than a stick stuck in your throat. The female cast do struggle somewhat to shine as bright as their male counterparts - Wasikowska plays the preachers daughter that falls for the youngest sibling and for the most part just has to look alluring-yet-innocent enough to keep him and the audience interested. It is Chastain that has the meatier of the two female roles but even then she seems destined to be the love interest for Hardy's tongue-tied man who can't act even when it's handed to him "on a plate."

Entertaining and engaging, Lawless is able to keep you right up to its end narration, with a smile-inducing moment involving the legend of the invincible Bondurant Brothers which just goes to show that some "true life stories" are stranger than fiction but nothing is invincible in the end....

UK release date: 07.09.12

Certificate: 18

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THE IMPOSTER

It has been said time and time again that truth is stranger than fiction. Nowhere is this more evident than in the oft-overlooked category of documentary.

In the cinema, the genre of documentary has been distorted of late with horror writers trying to recreate the success of films such as The Blair Witch Project with the use of "found footage" in the style of a loosely-themed documentary -Troll Hunter, The Devil Inside - but to those who are willing to take the chance and try something alittle different, there are gems out there to be discovered - Project Nim, Catfish...

Now, another opportunity to not see the genre as only something that appears on BBC2 or Channel 4 during weekday evenings presents itself with the added punch of "if it wasn't true, you wouldn't believe it happened" weaved into it its very core.

Director Layton seems to have taken onboard suggestions from the producer of the riveting doc Man On Wire and used them to create a slow-buring but none-the-less engrossing depiction of the lengths that people can go to to either disguise or accept human nature in all its weird wonder. Within the first ten minutes you are presented with the full story - that of the disappearance of Nicholas Barclay from his home and family in June 1994 and his subsequent discovery three years later in a small town in Spain. So far, so back page news. Then, the screen pauses and the footage rewinds back to the beginning and all the details and interviews between the highlights are laid out for the audience to digest, contemplate and decide on whether they could have done the same things in the those circumstances.

With the combination of interviews with all the real people involved and recreations of the events they describe, Layton is able to pull you along to exactly where he wants you to be - a place of suspended disbelief of why and how a 23 year old Frenchman would pass himself off as a missing 12 year old Texan boy AND then be taken in by the family of said missing boy. But for this to be a 'doc that would rock" your world, it obviously doesn't end there. The Frenchman Bourdin is frankly mesmerising as he explains calmly and plainly the reasons of why he needed to take the identity of a missing child and, as the story progresses, more and more incredulously at what the family around him accepted and his reasons for why they did according to him. This, tied in with the actions of the authorities and their intentions behind them - to look good in the eyes of the press and respective superiors - puts you into a perfect state to be led rather than to guess at the unfolding events. You think that the story of the family and their interloper will end up with a frankly Jerry Springer-esque finale but, as stated before, fact is stranger than fiction and here, with both parties giving up their side of the lie, all presented here is fact.

Now, you may feel cheated that the ending that seems to be hinted at does not come to pass, but that should be all the more satisfying since it only cements the fact that you're not being lied to or being force fed a line to "entertain" you. The last 20 minutes of its 99 minute running time starts to pull the rug from under you whilst helping you to question exactly how some people can behave and be allowed to mingle with others.

A intriguing documentary that thrives in the cinema environment but one that most people would settle to watch on the usual BBC2 or Channel 4 stage, The Imposter is worthy of your time and effort, even if the people upon reflection, aren't.

UK release date: 24.08.12

Certificate: 15

RED DOG

If you're old enough, you may remember when Disney used to churn out live action films by the dozen. Nature films with an upbeat narration and a sugary Disney taste to them. Since then, most animal movies have not strayed from the formula but have dropped the narration and used less sugar coating.

Here is something then that will be both familiar and yet at the same time, different. Based on a true story, Red Dog easily fits into the category of "if I hadn't already been told it happened, I would have believed it had been made up" which is the benchmark for all good true story adaptations.

It will feel in parts familiar to those who've seen the likes of The Incredible Journey, Marley & Me and Lassie with the dog-related hi-jinks but there's no young pup factor on display here to deliberately push the audiences buttons and make them fall in love. Here, it's just a manky-looking dog that will steal your heart without having to be Golden Retriever or Labrador cute.

What makes this different from the other animal movies is the non four-legged cast. Right from the get-go, this sets itself apart from the wholesome family image normally depicted by American offerings. The events take place in a backwater mining community in Australia and its inhabitants are as "colourful" as you would expect from the predominately Aussie cast. Even the world-weary travellers in search of money have been Oz-ised to the point where, despite their different accents, they are line-for-line of dialogue as interesting and fresh as their home-grown counterparts.

The humour is as bold and brash as you would think but it's that same sense of humour that sneakily creeps up on you and makes you care not only for Red Dog himself but for all the lives he touches in the small mining community. When the inevitable tissue-ending comes along you can feel the heartache that the"big, butch menly-men" are experiencing at the thought of a life without the cool, calm and easy-to-talk-to dog around.

A genuine, sweet film without ever crossing into sickly sweet terrority, it has enough laughs generated by the great human cast along with the interactions of Red Dog, to at least warm the hardest of hearts if not melt them entirely.

UK release date: 24.02.12

Certificate: PG

THE VOW

"Based on a true story"- those words can always leave a doubt in your mind and sometimes a sour taste in your mouth afterwards when events unfold that feel like only a Hollywood hack could have delivered them rather than fate itself.

With more a loosely stylised premise than an actual based on biography, this tale sets about deliberately pulling at the heart strings rather than hiding behind facts to dictate how the audience should feel. New to cinema director, Sucsy, lucks out on his first foray into the silver screen with the near-perfect pairing of McAdams and Tatum. Even when the cheese is being poured on thickly, whichever one is up on the screen responsible for the pouring, makes it that more enjoyable and easier to swallow.

Admitedly, most of the heart string-pulling is from Tatum's character as the loved-up husband who loses his love rather than McAdams who has the thankless role of the memory-loss wife who can't remember ever meeting him let alone falling for him and marrying him. Not many actresses can pull off the more negative female role in a romance-based film, but McAdams, along with Deschanel in (500) Days Of Summer, is able to pull it off somehow. As she gravitates towards her former fiancé which is her last memory, you should be hating her as Tatum's loved-up husband is left on the sidelines but her confusion and longing to hold onto any memory of herself helps you to feel sorry for her rather than anger towards her actions.

Like most romance-based films, any character other than the lovers are secondary and thinly written. This wouldn't be so bad as they are normally unknowns but when you have the likes of Sam Neill and Jessica Lange as McAdams parents with a past, it becomes more glaringly obvious that some attention could have been directed their way. That or cast lesser actors in the roles.

For those who like their romances ever-lasting, against-the-odds, and filled with looks of longing, The Vow delivers only some of these categories to its audience. The time frame unexpectedly jumps forward towards the end and any loose ends are conveniently tied up by the "true love" ingredient thickly spread across the storyline but since the two leads are so good together, you can forgive them for it. But only just.

UK release date: 10.02.12

Certificate: 12A

THE IRON LADY

The genre of biopic is normally a field where event after event has the viewer thinking that if they didn't know that it was based on fact, they'd believe that it was made up by writers.

The story of the Western World's first female Prime Minister, like the lady herself, is a film that will split people down the middle, and not just because of its central character.

Director Lloyd, who gave the world a singing Meryl Streep in Mama Mia!, tackles the controversial figure with a very strange narrative and an emphasis that will only serve to further the divide between the haters and the lovers. The story deals with the ageing Thatcher as she tries to exorcise the ghost of her dead husband all the while having various things conjure up memories from her political life.

This style has an unusual side effect where rather than a woman who either didn't back down in the face of adversity or caused the adversity (depending on your stance), you are presented with an old woman that could be your grandmother. Of course some will think that this is a deliberate ploy to make you feel sympathy for Margret, which for awhile, does feel like that is the aim - she's pushed and ignored by representatives of "business" and "youth" in a corner shop, she's talked about in hushed tones from people who "care/worry" for her health both mental and physical. But for each moment of that stance, you are presented with the memories of the miner's strike or the poll tax riots.

These aren't delved into too deeply, maybe for fear of moving it into the realms of political-based drama rather than the memories of a woman based in a man's world. The spotlight on the legislation side of her "reign" could possibly alienate the audience over the age of 30 who lived through the policies implemented by her and her government. Infact, where the film scores highly is in its depiction of what she faced from the all male environment at work. The shots of all grey/black suits bustling into the chamber like a rush hour crowd on the tube with deep in its midst one lone splash of bright blue trying to stand its ground; the handbag which never leaves her side especially after speech to the opposition that "today is not a day" for their petty squabbles; telling the American ambassador that Hawaii is just as much a small island as the Falklands are; the Kings Speech-esque voice training session that delivers a truly laugh out loud moment involving Dennis who is patiently (as he does throughout the whole film played wonderfully by Broadbent) waiting in the wings for hid "MT" - all these are standout moments.

Even if your memories or political views refuse to let you like the idea of a story of Thatcher, the one thing that cannot be denied or quibbled with is Streep's performance. Those few that shine no matter how bad the film is (Denzel Washington in Training Day for example) have a new standard to match up to. In both the later years and the political years, Streep nails every aspect. Her current Thatcher is full of little shakes, vague mind wanderings and aches and pains that make you forget exactly what Streep looks like - the transformation is truly stunning.

A mixed film but with one of the strongest and finest performances from not just Streep but from any other actor, her depiction of a woman in her prime and trying to deal with no longer having such prime or power is worth the admission price alone.

UK release date: 06.01.12

Certificate: 12A

FILMS YOU SHOULDN'T HAVE SEEN IN 2011: 10 through to 1

For every fantastic present, there's an over-done turkey and 2011 was no exception on that front concerning films. Here are the worst films of the year that you will never ever get that time back - for shame on you Hollywood, for shame!

10. Cowboys & Aliens

This makes it into this Top Ten list because it should have been in the list of films you SHOULD have seen! James Bond! Indiana Jones! The guy that did Iron Man! Spielberg producing! How could it go wrong?!?

It did! The trailer hinted at drama, action, comedy - and what we got instead was a scowling Craig with personality left off screen somewhere, Ford supplying what little humour there was and a long drawn-out finale that, like Close Encounters Of The Third Kind proved, you should never, ever go into the spaceship.

The potential was huge, the disappointment was equally so.

9. Transformers: Dark Of The Moon

Sequels - This list of miss-fires will have its fair share of them. If they got it right once, the lure of extra cash disguised as giving audiences more of what made them happy in the first place is too strong.

The Transformers franchise, despite acknowledging the flaws of its second outing, hasn't learnt one bit from the over-complicated, hard-to-watch mess that was Revenge Of The Fallen. Getting rid of Fox was neither a good or bad decision but replacing her with a beautiful but expressionless plank of wood was definitely not a wise move. And with LeBeouf now relegated to "Optimus!" screamer throughout its running time, it is now time for a clean sweep - new writers, new director, new cast - or for it to be put back in the toy chest.

8. Happy Feet 2

The simplistic idea of combining cute animals with toe-tapping tunes made the original Happy Feet a well-deserved success. The songs felt like they were written for the film and not randomly shoe-horned in to help push album sales.

The same cannot be said for the second trip to Mumble's world. Unrecognisable songs for many, with not only plot hopping but storyline ignoring, it felt like two weak ideas hastily glued together to fill out the short running time. No happy feet or heart here.

7. Pirates Of The Caribbean: On Stranger Tides

The lure of more money was too much for the studio but instead of trying to go back to the beginning formula that proved successful, they stuck with the same technique that almost sank the franchise.

Over-complicated and full of pointless characters, Captain Jack Sparrow's fourth adventure rambled again across many lands and seas without actually going anywhere or making any sense whilst doing so. It was more "seriously?" than "savvy?"

Even though Depp's Sparrow is a delight to behold, he's not able to hold a film together for 2 hours on his own - he needs characters to bounce off of (literally in some cases!) and a plot to sail through - which was sorely lacking here.

6. Sleeping Beauty

Sexual awakening is a well-ploughed (sorry!) field in cinema. So much so that whole sub-genres were created to fully explore the various aspects of it - the biggest being the "coming-of-age" comedies of late.

This couldn't be any further afield from those if you tried. Coming across as art for arts sake, the tale of a girl essentially whoring herself out (anything except for penetration is the one rule) to pay for her education and food etc, drifts along with characters that have no explanation nor redeeming qualities for you to sympathise or engage with.

5. The Green Hornet 3D

With a plot and an overall product that felt like it was made up as they went along, this entry into the world of cinematic heroes had the unfortunate position of being in the same genre as the likes of The Dark Knight, Iron Man and Kick Ass.

Woefully miscast, badly edited and unimaginative, the only good thing in the film was the car - which isn't a good sign at all!

4. Conan The Barbarian

Another franchise reboot and another whiff of a money-making attempt. The trailer promised so much, as they always do, and the film itself delivered a soulless mix of unfunny, unsexy nonsense.

Neither tongue-in-cheek or brave enough to go hard-core aggressive and masculine, this Conan tried to "explain" him with an origins story when it should have just been giving him a quest to embark upon. Arnie can rest easy knowing he still holds the crown.

3. Your Highness

My personal biggest let-down of the year was the film that should, by viewing the trailer, have been the successor to the classic The Princess Bride. It wasn't even even good enough to be the Bride's chambermaid.

Too ready to go with smut jokes, it decided to just stay with them rather than expand and bring in varied types of humour. Improvisation was apparently key during the making of it and it showed with a simple plot lost along the way a slew of drug and dick jokes. Even Natalie Portman in a Princess Leia-esque bikini couldn't save this.

2. Sanctum 3D

Splashing Cameron's name all over this in the hope of riding on the success of Avatar only built up the eventual disappointment even more!

With no attempt at characterisation nor any likable individuals, how could you be expected to care who survived or not in this un-tense drama where water was the only exciting thing to appear on the screen. The using of 3D in dark underwater caves showed that the industry still had alot to learn - tagging a film "3D" won't make it good or a hit. Especially if you can't even experience the third dimension because just black emptiness upon the screen doesn't really work.

2. Immortals

Immortals - the film that was so mind-numbing that I couldn't even finish the review and post it. Again, like some of the other major disappointments, the warning signs were all there - this was "From the producers of..." which doesn't mean anything regarding the story, dialogue or direction.

Even making the recent Clash Of The Titans seem bearable, this incoherent mess seemed to just rely on six-pack shots of the new Superman looking what no doubt was supposed to be thoughtful and moody but ended up looking like Joey Tribbiani's "smell the fart" technique.

1. Tree Of Life

You just know that there are people out there who will commit celluloid snobbery - say a film is outstanding etc just because it's supposed to be or has been classed as such. This was this years entry.

All for different story telling techniques, variety can lead to new discoveries and new experiences in the field of cinema. However, if you're asking an audience to sit for 140 minutes then maybe you need to deliver at least some semblance of narrative to keep them engaged or make it feel worthwhile. Malik's fifth film in over 30 years looks and feels like those bizarre perfume commercials where random shots and lines of dialogue all pile up upon each other to sit there bold a s brass daring you to question what's going on and therefore show your ignorance at it all. Confusing and unengaging.

So, how unlucky were you then? How many did you see? How many will you see now just to find out if they're that bad? Did I list your fave film here and you seek vengence???

FILMS YOU SHOULD HAVE SEEN IN 2011: 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. Disney's Tangled 3D

When Disney do it right, they knock it outta the park. Now with the influence of Pixar firmly in place, the once dizzy heights of The Lion King should be back in their sights.

Great songs - Mother Knows Best - along with one of cinema's finest comic relief in the shape of Maximus the horse, saw the story of Rapunzel (changed to be more "boy friendly") charm and delight children and adults alike.

With eye-widening imagery - the launching of the lanterns - laugh-out-loud moments - a sword-wielding horse vs a frying pan-carrying thief duelling - things are looking for both Disney and its audiences.

4. Rise Of The Planet Of The Apes

Originally smelling of a studio trying to milk a franchise for all its worth, Rise Of The Planet... pretty much surprised everyone who saw it.

Pretty much the Andy Serkis show, his performance along with truly stunning motion capture and CGI made you forget that you were watching an ape and simply accept it and even more oddly enough, start rooting for it instead of the human counterparts!

Surprisingly engaging and emotional, the investment into characterisation pays off not only in the gripping finale but especially in the one sequence that could have had audiences laughing rather than stunned. Bring on another!

3. Tinker, Tailor, Soldier, Spy

Made famous by Alec Guinness, the BBC series was deemed one of those "untouchable" products by many. However, all their fears were for naught as Alfredson's version was the ultimate slow-burner with oodles of paranoia piled on from the opening sequence.

With a cast that didn't put a foot wrong, all were magnificent but the nod must surely go to Oldman come Oscar time. His quiet and methodical way throughout only helps to catch you off guard when his one moment of emotion slips through his calm exterior towards the end.

A truly engrossing film it showed that with enough care and attention, anything can be redone.

2. The King's Speech

Released at the very beginning of the year, this quickly became, and rightly so, a feel-good hit that devoured awards left, right and center.

The chemistry between Firth's buttoned-down Prince and Rush's down-to-earth therapist was a delight to behold whilst Bonham Carter was the Queen everyone would have wanted to reign!

Sure, steady and never over manipulative, it allowed the central characters to breath and grow making the viewers investment worthwhile when the big day inevitably rolls around and the public address has to be given.

Beautifully handled and funny to boot, it deserved all it got.

1. Super 8

No doubt a controversial choice, never-the-less, Super 8 was what a good film should be - entertaining in every way. A love letter to all those films released when I was growing up, it smacked of a wonderful tribute to all those early Spielberg films whilst still being an individual movie in its own right.

Not hindered by its young cast, it actually benefits from them as they all do a great job, none more so than the object of affection Fanning who is exactly the girl you wish you had your first crush on.

J.J. Abrams handles the sequences and the camera as well as you would expect giving such things as lens flare throughout and "that" awesome train crash also and his homage to growing up along with films is a heart-felt and grin-inducing one. A joy to behold again and again.

So, that completes the Top Ten for 2011. The list this time was hard to do with at least a few more nearly making it in until the last moments. Sadly, I was unable to fit in Hanna, Kung Fu Panda 2, The Extraordinary Adventures Of Adele Blanc-Sec, The Guard, Drive, Hugo 3D and The Adventures Of Tintin: The Secret Of the Unicorn. 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!

PROJECT NIM

It was once said that fact is stranger than fiction. There are documentaries that, if you didn't know it was based on fact, you'd swear it was made up with the way the story roller coasters.

After the successful (and rightly so) Man On Wire, director Marsh turns his lens on the story of an experiment from 1973 - one that is as shockingly relevant now as it should have been back then.

With its timing of release seemingly tongue-in-cheek alongside The Rise Of The Planet Of The Apes, Marsh's documentary shows the true horrific scope of what it would actually mean to try and adapt man's closest living relative to a level where both could communicate with each other successfully.

Even though the experiment took place 38 years ago, you'll find yourself becoming more surprised and shocked as the story unfolds at how something could have not only begun but continued the way it did. You'll find that you will wonder whether you're watching the foolish naivety of a mankind or the idiotic arrogance of a man. The worrying thing is you find yourself leaning towards the arrogance side especially when the movement of Nim from environment to environment due to experiment instigator Herbert Terrace's unhappiness with the results.

As the chimp is moved from his "home" where he's treated as one of the children through to the empty mansion where constant learning is pushed to gather more conclusive results, you wonder where any common sense is and where any compassion is. More so at the end where Nim is left to animal experimentation. However, there is some semblance of humanity in one of the last people to interact with the chimp who becomes a champion on his behalf - Bob Ingersoll - who refuses to let Nim slip away under experimentation.

Both interesting and distressing, this is a reminder that man has great potential but can sometimes totally screw it up by concentrating on the potential rather than the consequences.

UK release date: 12.08.11

Certificate: 12A

THE DEVIL'S DOUBLE

"Based on a true story..." usually means that possible viewers will either be bored or bombarded with Hollywood interpretation to the point of not caring or not believing.

Trying to find the line between those two states can be hard but it never stops directors moving away from documentaries or standard blockbuster-wannabes and giving it a go. So, after giving us such fare as Once Were Warriors and Die Another Day, director Tamahori now tells us the tale of one Saddam Hussein's son.

From the off, you should know that this is a film that doesn't hold back any punches, which is reflected in its certificate. You will find yourself swinging mainly between two pillars - laughter at the absurdity and shock at the insanity.

Despite it being the tale of the young soldier chosen to be Hussein's body double, the movie is really all about, and indeed becomes carried by, the moral-free, fear-inducing life and actions of Saddam's offspring. Both roles are played by Cooper who obviously delights in the poles-apart characters, and with his portrayal of Uday Hussein, he finally deserves to lose the tag of "love interest from Mamma Mia!" Try to imagine Borat crossed with Heath Ledger's Joker and you're some way there.

With his mood swings towards irrational violence, Cooper's Uday creates a worrying tension for the audience as you await the next outburst. That, tied in with his sexual appetite, makes such scenes as the ruining of a wedding day (think Braveheart's English noble claiming his rights) and his paedophilia tendencies (a skin-crawling scene) a stark contrast to the moments of joking with the unfortunate double that he will have to lose part of his manhood so that it matches his in size.

The unusual relationship between insane son and enslaved soldier gets time upon the screen to breath and grow but at the cost of the forbidden love between body double and Uday's "touch her and I'll kill you" girlfriend. This plot progression jumps ahead several feet rather than sense-making steps but then, whether you like it or not, it's all about Hussein and the love-hate relationship you end up having with the vile character. When he's not on screen, you wait for him to appear.

What does grate the nerves as opposed to the shocking of them, is Tamahori's insistence at continuously mixing war footage into the film to remind us of the conflict raging outside. It's apparent already and these cut-away scenes only slow the pace somewhat from what is building into a "will he, won't he" kill or be killed finale between the two Cooper's. other than that though, it's surprisingly good.

UK release date: 10.08.11

Certificate: 18

SANCTUM in 3D

Are we stupid enough to be duped by adding a big name to the title of a new film? Did books ever go by the phrasing of "CHARLES DICKENS presents.... a novel by..." NO! So why should a movie do such? In a word, money!

James Cameron - self-professed "King Of The World" since "Titanic" and "Avatar" - has his name plastered all over this "based on a real story" but please don't be fooled by the advertising... this is no Cameron Classic. Not by a long shot.

Admittedly, we have a thinly-veiled script with not much characterisation in it at all, and dialogue that makes you think that George Lucas is a contender for 'the Bard's" replacement - but Cameron always gives something that warrants his global domination. This has nothing at all.

In a survival movie, you have to root for some of the characters to make it through otherwise why bother investing your time, let alone your money, in the endeavour? Yes, some will be assholes, but you expect that to offset the gits who deserve to die during the experience. Hackman's grumpy priest in "The Poseidon Adventure" was not a hero but by God you followed him and his crew to the ends of the earth because he and they deserved it - here not one, and I mean not one, of them deserve our respect or pity because they are the most selfish, self-centered and annoying individuals to grace the silver screen in a long time.

Why waste time watching a group of individuals bicker, second-guess and kill each other when you couldn't give a damn who survives or not? And that's where "Sanctum" mis-fires, big-time. From it's aggressive, cold-hearted leader in the form of Roxborough, down to the cocky entrepreneur Gruffud who has funded the expedition, not one of the characters is worthy of our concern or attention. And if you think that the title "3D" and Cameron will up the ante to make it worth your while, think again... 3D is glorious when there is foreground AND background to create depth to help immerse you in - if there is nothing but darkness and small holes where you can't see anything infront of or behind, then the element of 3D is a waste of time.

A reminder that names and technology are NOT a guaranteed mix for a great film but the building blocks of a possible major letdown - this is not an 'Avatar" or "Titanic" sequel so do not be fooled by the advertising campaign. Nor it's mature swearing - it's a child's attempt at what they think is exciting... but it isn't. New depths plumed!

UK release date: 04/02/11

Certificate: 15

127 HOURS

So, what do you do after huge Oscar success for your last movie? Go big budget? Go star-studded? How about the true story of a man that gets trapped alone in the middle of nowhere and must contemplate the unthinkable in order to survive....

Director Danny Boyle's CV is nothing but varied - "Trainspotting" "28 Days Later" "Slumdog Millionaire" - and yet again he doesn't disappoint with his latest - different, demanding and dead good. After the success of last years "Buried" where it was proven that a solitary figure can hold a movie together, "127 hours" thankfully continues this rare form with a morbidly engrossing film.

What makes it work is a combination of Boyle's usual flair and tactics - a fantastic soundtrack (with probably the best ironic use ever of Bill Withers' "Lovely Day"); ingenious editing that at times overloads the senses from it's split screen opening sequence to the frequent "photo moments" as James Franco's Aron Ralston documents both the good and bad times; and of course frequently avoiding cliches and what you'd expect to happen next on the screen.

Franco's portrayal and Boyle's co-scripted screenplay never "hero" what is essentially a human coping with an extreme situation. He is somewhat arrogant in his skills and abilities but it is these that get him into his situation and ultimately out of it. Indeed, it is a fascinating look at the slope into despondency, despair, delirium and eventually determination of the human soul.

One last thing to add - the scene regarding the sacrifice that is made in order to live - with sound and editing, it's like the ear-cuting part of "Reservoir Dogs"... your mind will fill in the blanks to help the film makers achieve cinematic gold. 2011 is off to a great start!

UK release date: 07/01/11

Certificate: 15