THE LONE RANGER

Word of mouth can sometimes be very misleading. Across the pond, the critics have been quite vocal regarding their opinion on the latest stab at one of histories longest running entertainment icons.

There has been comparisons to the ill-fated Wild, Wild West and in general, murmurs of displeasure and dislike.

Were they watching the same film?!?

What we have here is yet more proof that, despite the odd hiccups, there are certain things we can rely on: director Gore Verbinski knows how to deliver some Summer spectacle; writers Ted Elliot & Terry Rossio can deliver outstanding origin stories; and the one Johnny Depp is still THE quintessential quirky character creator. End of. Full stop.

For those not in the know, the list of people above are the team that gave us Pirates Of The Caribbean - the film that no one wanted, based on an outdated ride at Disney World. This origin story that launched a further 3 films - thus turning it into a surprise franchise - showed that when creating an opening salvo, they knew how to deliver the goods. Now with this stab at the story of the masked man defending the people which the law cannot seem to do, they have all created a film that is as smile-inducing, lean-forward laughing and iconic-image forming as their first team-up. Yep, you read that right - The Lone Ranger is as much fun as Pirates Of The Caribbean!

From the get go, the mission here seems to be pure and simple - entertain the heck out of the audience and not pay too much attention to such trivialities as historical timing or location. If it ain't fun or funny, don't leave it in!

With a set up not too dissimilar from the classic The Princess Bride, the story of our hero is told to a young child who, most likely as some audience members will do, interrupts the proceedings to question the motives and the clarity of the storytelling from the old narrator - in this case a 100+ year old Depp claiming to be the original Tonto. At times he looks even more Keith Richards than Keith Richards did in the Pirates sequel - a strange nod to the inspiration of one Captain Jack Sparrow. The plot is mostly linear except for one or two events which help build up abit of mystery around The Masked Man and the Insane Indian until the grand finale.

Before the "OMG" finale though, there is just a heap of slapstick, banter, quirkiness, stunning vistas, stupendous set pieces and one of cinemas greatest real life horses (Tangled's Maximus doesn't count here as we was all CGI.) The White Spirit horse - he doesn't become Silver until the end where Depp yet again steals the show with a corker of a line!) - acts alongside Tonto fantastically, even when he isn't standing in trees wearing hats, walking and running on roofs or licking scorpions off our heroes faces.

It all may sound just a tad too silly but believe that despite how strange it all sounds, it never feels like it's slipping into ridiculous levels where complete suspension of everything is necessary in order for you to survive it.

All of the above is pulled off seamlessly with Depp the right side of fruit loop and Hammer the square-jawed-but-niavely-trusting all-american hero. Their banter harks back to the Laurel & Hardy days of entertainment where looks rather than words speak volumes and creates laughs.

Then you're hit with the train chase finale. Imagine the chase sequence from Wallace & Gromit's The Wrong Trousers on speed, with full size trains, a serious lack of sleep, a serious amount of cash spent on special effects, the best use of a ladder committed to celluloid and THAT tune from The Lone Ranger finally blaring out across the speakers which had been noticeably absent until then, and you're half way there! Logistically, it's a nightmare keeping up with as the two trains become more and more detached as they chase each other through the glorious-but-blurred landscape but then you don'y have to! That's the point! Just sit back, relax and accept the insanity of it all and the pleasure that comes with it.

Immense fun and deserving of a follow-up adventure, ignore the American antipathy towards it and go see it for yourself! Hi Ho... Whoops, can't spoil it for you!

UK release date: 09.08.13
Certificate: 12A

THE HEAT

Along time ago, a certain chemist chain ingrained into our minds that the age of the lady was upon us with their constant advertising campaign tune of "Here Come The Girls"....

That journey, film-wise at least, is still a work in-progress, but is none-the-less moving in the right direction. After the femalisation of the male-orientated The Hangover with the "funny-as but not as successful-as"  Bridesmaids; it is now the turn of that other male-dominated staple of the "cop buddy" flick to be estrogenated. Where once the likes of Gibson & Glover stood tall with Lethal Weapon, there are some new sheriffs in town - Bullock & McCarthy!

The premise of The Heat is a simple and very well-trodden one - mis-matched cops trying to work together to solve a case that either is, or becomes, very personal to the both of them for different reasons. At least it is to begin with. The two anomalies that this latest offering of the "good cop, bad cop" scenario has over the efforts that have gone before are: as already stated its women this time round and not men, and the standard set of locations used are not adhered to. Normally, the city of New York would host the action so that the newcomer has to try and fit into the sprawling metropolis that is The Big Apple with its laughable lowlife and seedy streets. Here, FBI Agent Bullock leaves New York - all nice, clean buildings and quiet suburban neighbourhoods - and heads to Detective McCarthy's Boston - all lower working class, seedy streets - following a lead about a pretty nasty individual that no one has ever seen, except for the trail of bodies he leaves behind. Here New York is not the bed of iniquity and vice as normally experienced in film lore, but the serene, learned Boston is.

Apart from those two changes, everything else is familiar territory here. The two cops do not see eye-to-eye on anything. The methods that they use are deplorable to each other - one follows the rules and knows the rulebook inside out whilst the other knows the street rules and doesn't read books. One takes pride in their appearance and the other does not whilst they both have an opinion on the other's wardrobe. One quotes the book whilst the other throws the book - literally at a non-talkative suspect. So, all present and correct then.

However, what it does have is the genuine chemistry between the once Queen (and still should be seen as royalty) of "mainstream, inoffensive" comedy, Bullock, and the newcomer of "in yer face, rude" comedy, McCarthy. Both deliver exactly what you've seen from them before - McCarthy's non-embarrassed, socially-unaware Bridesmaids character, and Bullock's slightly uptight, self conscious While You Were Sleeping, Two Weeks Notice, Miss Congeniality character. Both work well together although at times the ying and yang and back 'n' forth between them does feel over exposed. This may be because at times the banter feels like more improvised than scripted and the film doesn't seem to know when to cut those scenes and move onto the next part. You feel that there are possibly a lot of jokes and banter that have been left on the cutting room floor in order to keep the running time down to a manageable amount for a comedy.

That is never more evident than when the bond between the two agents of the law become suddenly best buds instead of sheer duds. The move is all-too-quick to feel believable and seems forced to help move the story along - especially after all the aggression between them previously. They do get to share one of cinema's most funniest drinking scenes in recent years with both showing perfect timing but that should have been the catalyst for their bonding and not further cementing it as the script shows us.

Director Paul Feig has pretty much previously cut his teeth on the small screen rather than its bigger sibling with Bridesmaids being his only silver screen project before this. This does answer maybe why The Heat feels like a TV show expanded for the big screen with everyone making use of the freedom to swear which would be denied it if it were on the box. His duties on The Office, Nurse Jackie, 30 Rock, Arrested Development and Parks And Recreation makes The Heat feel like it could have been one of those shows. There the relationship could have been developed over a period of time and not rushed, but then again you wouldn't have got the swearing or the violence!

A fun outing for all, The Heat is worthy of its enticing trailer BUT be warned! It is NOT what it pretends to be at its very beginning! With its retro music and slightly tinted old film stock look along with split screen visuals, you'd think that you're in for a treat of an 80's cop buddy movie with knowing references and the like, but it is a lie! That is only over the opening title sequence and does leave you feeling abit cheated throughout and wondering how better it could have been if they'd just stuck with that idea. And if they'd added bloopers at the end! I mean, come on! ALL comedies should do that!

UK release date: 31.07.13
Certificate: 15

THE WORLD'S END

What can be said about a very British institution that has, over the years, seen it move from quiet cult through to justified placement upon the world's stage? (gettit?) Alot, it would seem.

After a glib comment during an interview, the now named "3 flavours Cornetto trilogy" comes to an end with, quite dramatically, The World's End! Literally!

Any viewing and reviewing of The World's End will be, rightly or wrongly, accompanied with a nostalgic look back at the previous works of the three main instigators of the trilogy - Edgar Wright, Simon Pegg and Nick Frost. All have gone on to do their own things but most viewers will be expecting, and more than likely demanding, to see more of what the three did together rather than something that may show how they've grown since those early days of collaboration.

Despite not being an actual sequel, The World's End will undoubtedly fall foul of the sequel curse - fans want more of the same but something different. A very difficult line to tread, the boys have never-the-less gone for this whole-heartedly and this could be where original fans my feel alienated (pun intended) by their attempt at the sci-fi genre. This is not like the affectionately-lampooned zombie genre Shaun Of The Dead, nor the mash-up of American all-action, cop buddy flicks in Hot Fuzz relocated to a quiet English village.

Those first two parts of the Cornetto trilogy had what translated up upon the screen as specific films being lovingly recrafted and having the piss taken out of them but with affection, respect and love. Shaun Of The Dead had its Day Of The Dead. Hot Fuzz had its Bad Boys. World's End... upon first viewing has.... nothing! At least nothing obvious despite the genre of sci-fi being a veritable smorgasbord of rich pickings to rip off or lovingly recreate. Some may, after having watched it, reflect upon the idea that Pegg and Frost's non-Wright project - Paul - feels more like a fitting end to the trilogy than the actual offering delivered here. Paul has specific references to sci-fi films that Shaun and Fuzz depicted that you are able to clock off on your fingers whilst watching whereas their World's End does not.

What you get to clock off instead is a cast list of who's who from all their past collaborations. People from their humble beginnings of TVs Spaced - Mark Heap, Julia Deakin, Michael Smiley - The League Of Gentlemen's Apocalypse - Reece Shearsmith -  Shaun Of The Dead - Martin Freeman, Bill Nighy - and Hot Fuzz - David Bradley, Paddy Considine - all make appearances here in this finale. Infact, the easier thing to do would be to clock up the noticeable absentees from the final affair - Jessica Stevenson and Bill Bailey are the two main no-shows that would have been hugely welcome, even if just drinking in one of the twelve pubs in the background. Such is the pre-programming in us from our previous experiences from the trio's back catalogue, that we expect to see all the familiar faces from the past efforts all present and correct. And if not an exact appearance then at least an acceptable variation - Hot Fuzz had a James Bond with Timothy Dalton and World's End gets its Bond in the form of Pierce Brosnan.

So, what does it actually do then you wonder? Well, it definitely goes out with a bang! Literally! The team have a lot more buck to play with here and they use it wisely and wonderfully up upon the silver screen. The films and genres that they have parodied - or homaged - before were not necessarily known for their huge use, or reliance on, of special effects. Sci-fi films demand it mostly and the "robots that aren't robots" and the other non-human entities roaming the streets of Newton Haven are up-to-scratch with any of the big league blockbusters that delve into the world of science fiction. And maybe that's where this instalment falters alittle.

This feels abit like it suffers from the all-too-common- curse of the blockbuster - style over substance. This is because we are not presented with the normal dynamic between Pegg and Frost. Pegg is unrecognisable as the leader of the Famous Five who are trying to conquer The Miracle Mile's pub crawl that they didn't finish 20 years earlier. Here is shades of Frost's Ed from Shaun.. - all self-orientated, self-obsessed and selfish to the extent that you wonder what the rest see in him and why they still follow him around. There is no likable quality in the normally centre flag-poled Pegg and surprisingly, none of that seems to have been transferred other to any of the other four characters. Frost is angry at Pegg throughout the film and it's not until the final third act that we get to find out why that is. By that time then there's not enough minutes left for the forgiveness and re-bonding to begin between them and to wrap things up plot-wise hence the feeling of a rushed friendship bridge-building and the final fight to save Earth. Freeman, Considine and Marsen are the tag-alongers (as explained in the Pegg voiceover at the beginning) and have characterisation to match that standing in the scheme of things

It's these bold steps to differentiate this from their previous works that shows how they've grown work-wise but maybe how we as fans and viewers are not really ready for them to do so. Separately we can accept them expanding their horizons but when together, it feels like that they should be true to what and who they were. It's like having a loved pet replaced - it still is what it is in basic animal terms but it doesn't feel completely right.

The in-jokes are there still - the now infamous different ways of trying to climb a fence in a hurry, the look out for the Cornetto reference - but the more obvious ones are excluded deliberately by the trio in order to have this stand out from the other two efforts. A "you've got blue on you" would have been so easy to do (Shaun's "you've got red on you") but they don't go for it. All before has been so tightly cross-referenced that when they don't do it here you feel a tad disappointed.

Now, this does not make it a bad film - not by a long shot. It does make it a different film and how willingly you are to embrace that fact will depend on how much you will enjoy it. There are some quotable lines to match all their other great moments - the "we'll always have the Disabled Toilet" if there is any justice should be quoted alongside "we'll always have Paris" in equally awed tones.

Who knows, maybe after a few years and reflection, The World's End could become like the Indiana Jones And The Temple Of Doom episode where opinions change and it isn't considered the runt of the litter anymore....

Fun, filmatic and Friday night-friendly, it's a good and brave ending but here's to the hope that they, like Lucas and Spielberg did, make another film in order to say sorry to the true die-hard fans.


UK release date: 19.07.13
Certificate: 15

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

MUCH ADO ABOUT NOTHING

There are times when certain films generate a buzz from their "behind-the-scenes" info - how much it cost, how long it took, locations used etc. Only a few of those rise above such focus and have the spotlight turned upon their performances and overall experience.

The little film made by the guy who delivered the 3rd biggest box office hit of all time is one such example. And the focus is... bloody good!

Let us dispense with the "behind-the-scenes" part shall we? During the two weeks between the end of filming and beginning of editing Avengers Assemble, Joss Whedon made Much Ado About Nothing. In 12 days, using his own home as the only location and a cast littered from friends made up from his creator/writer/director history with basic cameras and avoiding such things as lighting, Whedon once again has shown that ensemble pictures are definitely his bag. Even if it is The Bard's work and for once not his own!

What Whedon has done here is make a Shakespeare film for people who don't do Shakespeare. By "Shakespeare" I mean the use of the original prose (such as seen in Baz Lurhmann's William Shakespeare's Romeo + Juliet) as opposed to dialogue "based on" the Bard's works (like 10 Things I Hate About You.) Now, that doesn't mean that you will be able to sit down and understand word for word the various monologues and back-and-forth's between the characters such as Beatrice and Benedict. What you will be able to do however, is get the gist of what is going on more than you may have done in previous adaptations.

This is down to Whedon's clever use of his chosen actors and the delivery that he gets out of them. Most of them "Whedonites"- they have worked with him through the likes of Buffy The Vampire Slayer, Angel, Firefly, Cabin In The Woods, Avengers Assemble - it is their obvious ease with the material that makes it so easy to accept for the audience and then go along with throughout the proceedings. Their speed, inflection, tone, interaction - it all seems just so natural. Bearing in mind that they used to meet at Whedon's home and do read through's of Shakespeare for fun during downtime on his previous projects, you would expect nothing less than seamless perfection from them at handling the often-thought-of "hard going" material. All this from the man who made vampires cool before Team Edward was even thought of and who made a Western in space before others tried to make sci-fi genre-mashing cool.

Admittedly, Much Ado About Nothing is one of the easier entries into Shakespeare's world - the comedy about love and its secrets and lies sits somewhat better on the untrained pallet than the tragedy and consequences of  a King - but it is still none-the-less a tall order to try and pull off successfully so that connoisseur's and freshman's alike are both suitably wooed and left satisfied.

With an emphasis on the two "L's" - laughter and lust - the tale of two would-be lovers is played out in a black-and-white dream-like state. Drinks are ALWAYS on hand (and indeed in hand) throughout as the players move around each other (both known/seen and unknown/unseen) as plots are hatched and hearts broken. Here, sex and sexy are evident and evidently abundant in this modern setting where news travels fast via smart phones and iPads rather than horse and parchment.

For those who have followed Whedon's work, his cast are superb. The sheer delight in watching the tom-foolery of Amy Acker's Beatrice as she overhears news of Benedict's love is grin-inducing, with a pratt fall to match any of that from Inspector Clouseau. Likewise, Alexis Densiof's cocky-and-then crumbling confidence when he overhears of Beatrice's love has some of the best peering-through-windows work since Rowan Atkinson was in his prime. Fran Kranz shows that his hyper-geek from both Dollhouse and Cabin In The Woods is not the only entry in his CV with the tortured soul of Claudio both believable and understandable whilst normally Mr Nice Guy Sean Maher as seen in Firefly does a lovely 180 and is deliciously evil as the havoc-wrecking Don John. As of course it should be, the best comedy comes from Captain Hammer / C'ptn Tightpants (Malcolm Reynolds) himself - Nathan Fillion. As Dogberry (along with Buffy's Tom Lenk) you will never see a better or more over-repeated use of the word "ass" as long as you live. And trust me, you will be a better person for it!

Delightful. Delicious. Devious. Do see it!


UK release date: 14.06.13
Certificate: 12A

IDENTITY THIEF

Type casting - a double edged sword. It keeps you in business and helps with the mortgage repayments but on the other hand it can propel you away from your fans and box office receipts as they see you again and again deliver the same ol' same ol'.

Since his cult raise to fame with TV's under-rated classic show Arrested Development, Jason Bateman seems to be stuck in the role of "put upon average Joe." This was perfectly shown in his Horrible Bosses role as out of the criss-cross would-be murderers, Bateman's was the most normal.

So, if it ain't broke...  Director Seth Gordon reunites with his 2011's  Horrible Bosses star to explore the all-too-real world of identity theft. Of course though, this being Gordon who's cut his teeth on the likes of Modern Family, The Office and Community, facts and seriousness aren't included here on the menu.

Instead, what we are given is what feels like a poor man's combination of Planes, Trains & Automobiles and Midnight Run. Now, on paper, that sounds like a match made in heaven - both being fantastic comedies of their generation that have stood up against the ravages of time. But here in practise, the result is less-than-impressive.

Mazin and Eeten's screenplay tries to recreate the mis-matched road travellers of Steve Martin vs John Candy (Planes, Trains and Automobiles) and Charles Grodin vs Robert DeNiro (Midnight Run). What doesn't help the wanna-be's Bateman vs McCarthy is the reason that they're thrown together in the first place on their cross-country road-trip. McCarthy's fraudster willingly goes with her mild-mannered mark from her Florida home where he has tracked her down, to his in Denver to help him keep his job that she's put in jeopardy. So we have to believe that the woman who has stolen his entire life wants to now save it.  This just doesn't sit right despite the obvious nods to McCarthy being a broken heart that does what she does for friendship, so the storyline becomes irrelevant and thus the jokes are left to fend for themselves. Which doesn't really help them. Or the audience that much.

There are some nice touches thrown in here and there, but that's Identity Thief's problem - it's too sporadic for what should have been a balls-to-the-walls all-out comedy. Even with some humorous cameos - Modern Family's Eric Stonestreet, The Office's Ellie Kemper and Robert Patrick as a Terminator 2-esque bounty hunter -  their appearances, and the laughs they add, are both fleeting and quickly forgotten.

Let's just hope the Horrible Bosses 2 sequel that Gordon and Bateman are in pre-production on doesn't hold back like this outing did.

UK release date: 22.03.13
Certificate: 15

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 - 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?

PITCH PERFECT

So, 3 years ago, a TV programme somehow managed to become a small phenomenon despite itself and everyone saying how "they didn't watch it!" A show that was basically a musical every week with a bunch of kids singing existing songs to explain their feelings? Go to the theatre if you want that then nerds!

But it continued to air and sold records aplenty. Now, we have what on the outside appears to be a "made-for-the-big-screen" version of Glee! replete with the battle for Regionals and a bucket full of attitude to match too.

As a fan of Glee! myself, I can none-the-less see how people could not cope with it and naturally want to avoid any cinematic version of it like the plague or worse - the "wannabe's" on X-Factor. For those of you who fall into that category - stop right now, thank you very much!

Every now and then, audiences are treated too, so long as they let themselves be, a film that breaks out of its pigeon-holing and not only appeals to, but can win over all demographics other than what its storyline and its trailer suggests. Films such as Clueless, Mean Girls and 10 Things I Hate About You were looked at as just "teen/coming of age" flicks but they had a maturity and cleverness about them that made them hugely successful and popular to anyone who saw them, no matter what their age was.

Pitch Perfect is able to put itself into that category. Yes, it is slightly predictable. Yes, it has at certain points more cheese than Cathedral City's warehouse. But then, so were all the other genre-breaking flicks previously mentioned that pulled in punters other than their target teen audience. Here, as in with the others, it's all about the dialogue and the cast that delivers them. With a great cast and cracking dialogue, cliches become relevant plot points rather than eye-roll inducing set pieces.

And the cast here is perfectly pitched (pun intended.) Kendrick shows that her Up In The Air performance wasn't just a fluke or great because she had Clooney to bounce off of. Here she plays the "leave me alone but at the same time acknowledge me" new girl to the campus that issues out rape whistles (but asks that you only use them if it's really happening!) with charm for you to instantly like her. That role could be grating or downright annoying but Kendrick avoids such reactions. Her fellow musicians who "make music, with their mouths" are all the stereotypes you would expect to be present and correct - the slut, the quiet one, the rich bitch and since the successful arrival of The Hangover's out-spoken Alan, the mouthy fat one.

Wilson who plays Fat Amy, gets the main slice of the laugh-out-loud comedy hits from the ensemble - vertical running, drive-by Burrito'd, bikini carwash demonstration - whilst the others have to be content with either reacting, singing and the occasional sight jokes - secret lesbian looks, The Goonies-style vomiting - whilst the boys get their own slice of male humour - the Star Wars dorm room gag is sheer genius.

The consistently best side characters however are the commentators during the various regional and national competitions. Think of Dodgeball's Jason Bateman, then take his essence and place it into Elizabeth Banks and John Michael Higgins and sit back and watch the sexist, ageist and racist comments just fly by! If you don't long for another competition just to hear the thinly veiled sarcasm and the politically incorrect comments from the two then it's time to put the microphone away and just walk away.

Of course, in the end, despite all the shenanigans, love interests and rivalries, Pitch Perfect is about music and to a degree, choreography and these are both delivered incredibly well. All songs are either toe-tappers, hum-alongers or, with the case of  No Diggity, just plain old sit -up-in-your-seat classics!

More than just another teen flick, this is a cleverly written, well performed delight that allows you to admit you do like some form of musicals. Go see, go sing, go enjoy!

UK release date: 21.12.12
Certificate: 12A

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

SILVER LININGS PLAYBOOK

There are those that can be cursed with being remembered for the one mistake that you've made rather than the ones you didn't. Director David O'Russell was destined to be one of those - the director that was punched in the face by his own star for being overly "mean" to another one of the cast/crew (Clooney on the set of Three Kings).

With his previous effort receiving Oscar recognition, it looks like with The Fighter that O'Russell could now leave that incident behind. So, it's with some irony that his latest effort sees a man struggle to show that an incident in his past is just that and needs to be classed as such and everyone should just move on...

Mental health issues. Its portrayal can be sketchy at best upon both the small and big screen. Classics such as One Flew Over The Cuckoo's Nest tackle it head on very successfully. Others touch on it but wrap it up in a storyline that is easier to swallow such as As Good As It Gets. Others try for all out comedy and run the risk of belittling not only the character but their illness at the same time - What About Bob? Silver Linings Playbook sees itself fall between the first two categories, and it owes this creative success and high praise from the performances of Cooper and Lawrence. Yes, they may have some solid writing to base their performances on, but in the end, if their characters don't hook you somehow then they've lost.

Cooper, yes he from The Hangover and The A-Team, right from the get-go, as he sits in his shrink's office desperately trying to reason with himself and the doctor about his actions, is a man who asks for and needs your attention and your empathy. As the movie unfolds you become privy to the "incident" that caused his stint in the hospital and it is this somewhat shockingly graphic reveal that shows just how strong your connection with Cooper's bi-polar teacher is as, rather than wanting to cut the ties with him, you would rather just want to ride it through to the end with him no matter what. He deserves his "silver lining" and you want him to have it. The books he reads to try to connect with his estranged wife that have no "happy endings" should not be for him.

Of course though, his "happy ending" should not be with his wife but with Lawrence's equally mis-understood and singled out individual that offers Cooper's still love-struck husband a way back into his wife's life. Here, the young woman that blew away the small-but-lucky audience that saw her debut in Winter's Bone and showed that a strong female lead CAN bring in both male and female crowds with her The Hunger Games, shows that these previous performances were not flukes. Lawrence as the recently widowed young woman who reaches out for comfort and solace in sex also has an uncomfortable scene not unlike Cooper's where her disorder causes trouble for him but her face brilliantly shows her struggles with what she's done and what she should do, without her uttering a word. It's this kind of thing that smooths over the obvious age gap between them and has you instead just concentrate on their words and actions rather than their years.

What it manages to do is make you accept the characters because of their flaws and their incidents but not only accept them, but embrace them too. Through such moments as exactly who started the hand-holding - both believe it to be the other - and the who-is-stalking-who through jogging around the neighbourhood, both Cooper's bi-polar Pat and Lawrence's clinically depressed Tiffany create a couple that most average rom-con's would die for - a believable, grounded and "fingers crossed they make it" duo.

Like the best rom-com's (don't be confused though, this is more than a rom-com) it's not just the central characters that help events unfold or win you over. Here, some recognisable individuals step up to the spotlight and, for some of them, banish their recent "phone it in" performances - yes Mr DeNiro, you! The supporting cast help to make it feel like that you're watching friends and family trying to deal with the problems that mental health issues can cause rather than some extras wandering into the camera shot. And for those who still have hearing problems from The Fifth Element and the Rush Hour films, Tucker will be a complete surprise not unlike Cooper.

Silver Linings Playbook does concern itself with a sport - here its American Football - but just like Field Of Dreams, the sport is not important. It's something that the father (DeNiro) and the son (Cooper) can try to bridge the ever-widening gap between themselves but doesn't need you to understand the in's-and-out's of to get it all. Then throw in a dance competition that refuses to go all Hollywood and cheesy and you have a film that never dumbs down itself to bring itself into your good books - and for that it should be seen. Wonderful.

UK release date: 23.11.12
Certificate: 15

COCKNEYS VS ZOMBIES

British humour - there is nothing quite like it at all! Some of it has travelled the globe very well indeed - A Fish called Wanda, The Full Monty - and have been global successes. Then there has been the more "select/cult" hits worldwide that have helped fly the flag - any Monty Python, Shaun Of The Dead. The latter helped create and define new genres whereas the former just perfected their respective ones.

Director Matthais Hoene's first stint behind the camera sees his work fall squarely into the former category - a "standing on the shoulders of previous giants" type of thing.

Firstly, it should be known that if the title of Cockneys VS Zombies didn't appeal to you or brought a smile to your face, then it's safe to say that this won't be your type of film. Here, not unlike the Snakes On A Plane idea, it does exactly what it says on the tin. One half of the writing duo - Moran - had previously cut his teeth in writing episodes for TV such as Doctor Who, Spooks, Primeval and Torchwood. These cult shows deal with the slightly ludricious and it seems that Moran, along with co-writer Loche, have gone all-out loopy for their first shot at the bigtime. There's no denying that it feels (and looks like) a lesser cousin to superior Shaun... but the lads have tried to distance themselves with attempting more sillyness, more swearing and more stains of blood. And for some of the time, this works.

Where it excels in is its moments of sheer ridiculousness: a flashback to Ford's gezzer Granddad storming a Nazi bunker in WWII and givin' them what-for whilst shouting such things "ave some o that!" in a true cockney accent. It also shows that being dead, or technically undead, cannot quell the deep-seated rivalry between opposing football fans as our "heroes" watch on astounded over the slowest and strangest football hooligan fight ever seen. Its ultimate visual stunner aimed at the funny bone though has to be the sequence that makes an appearance briefly in the trailer - that of the nations' beloved Briers trying to outrun a zombie in his zimmer frame. The full scene is thankfully still a laugh-ou-loud moment without the brief snippet in the trailer detracting from your enjoyment.

Where it does fall short though is its over-reliance on its "star" - the foul-mouthed, takes-no-sh*t Alan Ford. Basically reprising his Bricktop role from Snatch, the writers and the director seem reluctant to keep the camera and story away from him for any length of time, allowing him to appear on the screen and utter his delightful way with words....buried deep in a pile of expletives! This does mean that the other cast members do feel like they're treading into his spotlight when it's their turn to speak, and some do suffer for this - Ryan, one of the more recognised of the cast, feels thrown in amongst the whole proceedings as if to add abit of glamour and eye-candy in the typical male-dominant world of zombie apocalypse. She does fare better than King's bank robbery-gone-wrong hostage who only has to think how stupid everyone is until she realises that they're all "nice" bank robbers and decides to join them in the fleeing of the over-run East End.

Having said all that though, Cockneys VS Zombies is not a film that requires a deep examination nor a thoughtful reflection afterwards. It is pure and simply a film to grab a friend, down some beers and then watch with a warm smile upon your face and a load of blood and gore in your eyes and a swear word every few minutes in your ears. Silly, stupendous fun, there's nothing quite like a film that has "Northern monkeys" in its dialogue or one that explains it all in its title. Nice one!

UK release date: 31.08.12

Certificate: 18

,

TED

The leap from the small to the big screen is often tried but rarely successful in either of the categories of critical acclaim or box office takings.

Macfarlane seems to know this and has acted accordingly. Instead of going for the easy-but-open-to-failure route of simply extending one of his TV shows into a feature-length running time, he has written and directed a fresh piece of work for his first foray into the medium of film.

However, for those of you who are now wary of this new direction and change from the creator of Peter Griffin, don't fret - this might not be an actual episode of Family Guy, but it's the nearest thing to it. Just like Malcolm In The Middle was like a live version of The Simpsons, Ted has ALL the trademarks of its surrogate father show present and correct. From cast all the way through to cut-away sequences that have no place being there, fans will know that Macfarlane's hand, and blue-languaged mouth, are all over this project.

And cleverly on his part, for those of you that have never "quite got" the wonderful weird humour that is Family Guy, American Dad and The Cleveland Show, there is more than enough fresh material and new actors to help those people differentiate it from its animated parents.

Narrated by American Dad alumni Patrick Stewart, we are told the simple story of a boy that even the beat-up Jewish kids won't play with - a boy so lonely that he wishes his favourite teddy bear could talk to him so they could be best friends forever. Amid the 80's posters and references ( Indiana Jones and The Temple Of Doom etc), we see the wish come true and a montage that shows the passing of time for both "thunder buddies for life" - Ted the magical bear being interviewed by Johnny Carson, both friends dressing up as E.T. and Elliot, the strangeness of graduation day and Wahlberg meeting Kunis.

Skip 30 years ahead and that's when the filthy fun really starts! Ted and Wahlberg's Johnny are happily drifting through life and still together, with the addition of Kunis' quietly suffering Lori under the same roof and into the mix. The basic plot of how friendship can be affected by the process of growing up has been depicted before - You, Me And Dupree - but here the added element of a beer swigging, coarse-mouthed bear is enough to make Andy and his favourite toys Woody and Buzz wanna head back to Daycare with their hands clamped firmly over their ears. Make no mistake, Ted is not for the easily offended. If you've seen any uncut episodes of Family Guy, you'll already know exactly how far the jokes can go and that no one is safe from the mirth-magnifying-glass. Over the years what has become more and more acceptable in films has now equated to the fact that you're still kind of shocked at what is said because the certificate here is only 15. The idea that a joke is a joke, and that no one should be above or beyond being at the end of one is run with throughout but strangely never seems to stray into the truly offensive arena but mostly into the "hand over mouth, oh no they didn't!" vicinity.

The non-bear cast are great with Kunis bit-by-bit breaking away from her put-upon, unwanted Meg character as Macfarlane's writing and her performance never let her fall into the so-easily-seen "hateful girlfriend" that tries to break up the long-life buddies. Wahlberg must have credit for treading the thin line of dumb schmuck that can't get his together and loyal friend torn between two individuals that he loves, without ever losing your faith in him. Except for one scene when he confides in McHale's wonderfully egotistical slimy Boss of Lori in a "man to man" pact that delivers one of the films best scenes where Ted has an unexpected guest arrive at his party - Flash Gordon himself! Not unlike the Mike Tyson surprise appearance in The Hangover, this one gets extra kudos points for keeping the gag running throughout the film and also the fact that both Ted and Johnny are star-struck every single moment that Flash is upon the screen.

What does come as a surprise however, is the emotional pull that the film is able to create with its audience. The final act, not to give too much away, sees events unfold where Johnny and Lori realise that they could lose Ted forever and put their "hanging by a thread" love life aside to unite to save the day. That a CGI'd bear that humps cash registers and wants to have strong words with Hasbro about his lack of bear/manhood can make you want to cry during the finale is truly a great feet of emotional manipulation on Macfarlane's part and of the technology that gave us Lord Of The Rings' Gollum and Avatar's Na'vi. You'll believe a bear can drink!

A wonderful mix of various types of humour, ranging from slapstick to shock, Ted is part 80's homage, part Toy Story (18 Cert ), part coming-of-age tale, part bro-mance, part love story, but mostly, it's the funniest film you would have seen in ages!

UK release date: 01.08.12

Certificate: 15

MOONRISE KINGDOM

An acquired taste. Many directors fit into this category - Woody Allen, David Cronenberg - and Wes Anderson firmly sits alongside those individuals.

So far his cinematic efforts - The Royal Tenenbaums, The Life Aquatic With Steve Zissou, Rushmore - have garnered critical praise but not a huge fanbase. A strong, but small cult collective following could be an apt description. But it looks like that could all be about to change.

The best way to describe Anderson's latest is as if The Cohen Brothers took a stab at doing their version of the recent British flick Submarine. Their quirky humour, the oddball characters, the delirious dialogue - the benchmarks of all of The Cohen Brothers outputs are present and correct here in Anderson's tale of young love that can't be contained by an island, Scout leaders, vengeful Scout troops or an impending storm. Yes, it's that kind of a movie!

From the get-go, Anderson has the camera move through, conveyor-belt style, a house that ends up looking and feeling like a full scale doll's house. The automated dolly shots introduces the viewer to one half of the young "lovers" family as they gather round and listen to a vinyl deconstruction of classical music on a portable record player whilst Mum (a restrained McDormand) and Dad (a spaced out Murray) sit in separate rooms. The introduction to the wayward other love interest, sees his escape, Shawshank Redemption style from his Scout tent, much to the shock and incredulous look of disbelief of Norton's brilliant Scout Master. That one of his charges would willingly resign from the Scouts is unthinkable to him.

Now, the first few Harry Potter's had the issue of a fantastic mature cast to dazzle the audience but they were still only the sideline characters - the story had to rest on the shoulders of the then under-performing youths (Radcliffe, Grint and Watson) which pulled back some of the suspension of disbelief and enjoyment of the films. Here, the mature cast is exceptional - already mentioned are Murray, McDormand, Norton. However there is Keitel in fine strong, superior cameo mode and once again Willis in the understated and quietly scene-stealing performance that woke everyone up to what he could do in The Sixth Sense. That said though, they are still secondary to the two young kids that experience the first blossoming of true love that find themselves drawn to each other partly due to their not-too-happy childhood lives - he an orphan that isn't liked by his peers and she the "mis-understood" child of the family. Gilman is easily believable as the boy who just doesn't fit in and Hayward is 'sit-up-and-take-notice" fantastic as the girl who would start off the islands biggest search and rescue mission involving Police, Scouts, worried parents and the epitome of evil - Social Services, played coldly by Swinton.

As all the threads start to come together to form a deliriously OTT finale, you still find yourself either laughing at a look or a line from any member of the cast or the mounting absurdity of the situation as each character gets to play their pivotal role in the proceedings. The effects are low-budget, but that only adds to the charm, and you can even forgive Anderson for doing a Benny Hill-esque sequence where Gilman is chased by a horde of angry Scouts in a field, all speeded up!

A charming delight from start to finish,and  just like Submarine, it's a representation of a childhood that part of you wishes you had experienced.

UK release date: 25.05.12

Certificate: 12A