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the list of people above are the team that gave us Pirates Of The Caribbean - the film that no one wanted, based on an outdated ride at Disney World.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

STAR TREK INTO DARKNESS

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

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

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

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

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

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

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

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

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


UK release date: 09.05.13
Certificate: 12A

SPOILER ALERT REVIEW!

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

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

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

OBLIVION

You may be forgiven for thinking that, of late, Tom Cruise seems to be on a one-man-mission to kick start possible franchises left, right and center. That, or either Hollywood producers and directors want him aboard to green light their films and hope that they'll get a franchise out of it!

So, along with his ongoing Mission: Impossible saga (the fifth instalment has been given the go ahead) and the not-so-certain to-be-continued Jack Reacher, Cruise has teamed up with a man who's no stranger to sci fi epics with possible sequel connections...

Despite the average reviews and fair box office receipts of his Tron: Legacy sequel, director/writer Joseph Kosinski is moving forward with the third instalment of the Tron universe, but not before he gets the chance to muck about with (and muck up) the real world instead of its cyber version. And this time, Cruise is along for the ride.

Oblivion's premise can be easily explained for those who need their plots basic and summarised - it's Tom Cruise as Pixar's Wall-E - a "Tom-E" if you will. The future Earth is all but uninhabitable. Stationed across it's desolate wastelands are teams of "clean up'ers" who ensure the maintenance of droid probes. Tom's "two weeks until his Earth shift finishes" character stands in for Wall-E - Jack, the mundane drone who has a heart. He even has a plant that he has nurtured from the wastelands. This he presents to his current love interest (Andrea Riseborough) who, like EVE, is clinical and work-obsessed. His life, and the way he sees it will forever change upon the arrival from the sky of Olga Kurylenko - the EVE of the movie that falls for and connects with Tom-E.

Now, this doesn't mean that Oblivion is a rehash of a Pixar great. It does have its own merits and is worthy of both time and money from audiences. Kosinski, who has a flare for visual story telling as shown in Tron: Legacy, shows that grand landscapes are his forte still, if not actual characterisation. His camera sweeps and soars along with the Harrier Jump Jet-esque craft that takes Jack across the desolate remains of New York or when following the super speedy drones on their seek-and-destroy missions. All looks impressive, even if the imagery of recognisable New York landmarks are constantly thrown in your face to hammer home the point that you're looking at Earth, and in particular, New York - The METS Stadium, The Empire State Building, The Statue Of Liberty, The NYC Library... these ALL make an appearance! To the point of near exasperation.

Which can nearly be said about the other cast. Apart from Cruise and Kurylenko, all the others are frankly wasted. This is never more evident than with Freeman who should be the equivalent of Fishburne's Morpheus from The Matrix (who even gets a "you have to see it to understand it" line of dialogue) but instead comes across more as a DeNiro from any of the Fockers sequels - just phoning it in for the pay cheque. Normally that wouldn't ruin a film too much but Freeman has the pivotal role as narrator for what has happened before. His one big speech that clues both Jack and the audience into the reason of what, why and where feels like an afterthought and is over in a rushed sentence. It's not his fault but that of the script which jogs along at a happy pace up until the reveal and then trips over it in its haste to move along to the next dazzling special effect-laden chase sequence.

A visual delight, Oblivion is a fun 2 hours that harks back to the big Summer Blockbusters of times gone by where A-list stars wowed the senses but not necessarily fed the brain during their antics upon the silver screen. Watch on as big a screen as you can find for the best experience.

UK release date: 10.04.13
Certificate: 12A

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

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

5. Looper

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

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

4. Skyfall

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

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

3. Life Of Pi

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

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

2. The Dark Knight Rises

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

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

True spectacle for the more intelligent viewer.

1. Avengers Assemble

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

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

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

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

So, over to you!

TOP 20.1/2 FILMS YOU SHOULD HAVE SEEN THIS YEAR - 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....

THE HOBBIT - AN UNEXPECTED JOURNEY

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

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

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

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

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

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

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

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

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

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

UK release date: 14.12.12
Certificate: 12A

THE DARK KNIGHT RISES

Every film studio's marketing agency tries to bill their latest effort as "the most anticipated movie of the year!" Well, this time, one company have the right to use that slogan, but haven't. Now there's confidence for you!

2005 saw Christopher Nolan turn the superhero genre on its head with his realistic, reality-based Batman Begins. It wasn't until his 2008's The Dark Knight that the world woke up to the fact that Nolan had not only turned the genre around but would have redefined it for all of those that were to come. Now, the finale in Nolan's Batman trilogy is upon us and the pressure to not only perform to the standards of The Dark Knight but to also manoeuvre into the rare slot of "perfect trilogy" along with the likes of Toy Story and The Bourne franchises is all too real.

He's done it!

From the beginning reel, this is all about spectacle, story and surprise! For those of you that have recently watched the first two outings you will be rewarded with  a story arc that goes full circle and will have you smiling and nodding in appreciation at the cleverness of the script and its execution. It's that good. It's that engaging. It's that close to celluloid perfection. Each cinematic visit to Gotham has shown Nolan's increasingly deft hand at the action sequences as they, along with the scripts and performances, have built up to more and more breath-holding, armrest-clutching and mind-bending proportions. It now comes to the point where, especially when viewed in the IMAX format, that you seriously wonder how Warner Bros could reboot the Batman franchise and who would be brave and stupid enough to try.

The opening sequence here involving a Federal plane being hijacked whilst in flight is enough to equal, if not top Dark Knight's Joker-fuelled bank robbery for sheer visual opulence. The "jump-straight-into-the-story" scenario of a mid-flight kidnapping is something that any of the Bond films would sell Moneypenny to have on their CV and is made all the more enveloping to the viewer by being one of the many extended scenes filmed in the IMAX format. Here, Nolan along with his regular cinematographer Pfister, uses that format to fill the entire frame with a controlled cacophony of colour, conundrums, chaos and carnage. The stakes are the highest that they've ever been for the Batman and this is reflected in the set pieces that fill the screen and the imagination.

After such a striking intro, some audience members could feel that the following 45 minutes feel like abit of a "go slow" but this is where Nolan and co-writers Goyer and brother Jonathan Nolan take the time to introduce the new key players in memorable style and lay the groundwork for the finale by going over key points from Batman Begins and Dark Knight. One such player is Hathaway's Selina Kyle/Catwoman. By still keeping everything grounded in a heightened sense of reality, here the Pfeiffer interpretation of Catwoman in Burton's Batman Returns that sent hormonally overcharged males over the edge is a gone-but-not-forgotten memory. The overtly sexual chemistry that she delivered opposite Keaton's Batman is replaced here by Hathaway's coolness and banter with Bale's broken Bruce. Hathaway treads the thin line between help and hindrance to Bale's out-of-practise hero with the single goal of solitary survival - it's this characteristic that makes her so watchable without any camerawork that lovingly follows her form in the skintight catsuit.

Then of course there is Bane, the Bat's baddie this time round. Original fears that circled around the characters hard-to-understand voice are mainly unfounded - all is clear, and those lines of dialogue that aren't are easy to establish with Hardy's body language and his motivation - destroy Gotham and its protector, the Batman. Here, the threat to Bale's broken Bruce/Batman is all the more credible than before - Ra's Al Ghul wanted to mentor him; Joker wanted to play with him; Bane wants to destroy him. There is, especially tied in with the fact that this is Nolan and Bale's final Batman outing, a real sense that the Bat could bow out at any time whilst on the receiving end of Bane's fury.

The returning cast members, in true Nolan tradition, all have their own story lines and their parts to play in the return and the Rise of Batman. Caine, as loyal Wilfred, is still the anchor of reason and humanity for his master and as well as delivering alot of the humour still, this time he gets to hit the emotional target for the audience as he tries to speak some sense into Bale's heart-broken billionaire. Freeman as the Q of Bruce Wayne's world has the most diminished role of all the regular cast but still has the dry sense of wit that makes him a welcome addition each time he appears on the screen. The best revelation is Oldman's increasingly grizzled Gordon. With the knowledge of Harvey Dent's true demise haven eaten away at him for 8 years, Oldman gets the more accomplished story arc and remains the strongest link through all three films. That, plus he gets to have one of the more emotionally charged reveals in the final act.

What we have here, is the perfect end to a perfect trilogy. Nolan has delivered what many feared that he couldn't do - a film that could be equal to what was considered one of the best sequels committed to celluloid and the best superhero film of all time. Each fan will have their personal favourite out of the three adventures but they will like all of them regardless, and that is what separates these from the rest of the wanna be's. A film that has definitely been worth the wait and worth the hype.

UK release date: 20.07.12

Certificate: 12A

THE AMAZING SPIDER--MAN

A mere 5 years after the release of the luke-warm received third outing of the friendly neighbourhood's Spider-Man, the arrival of the web-slingers reboot has, not surprisingly, met with some resistance from the fans. "Too soon" came the cry across the Internet as the memory of director Sam Raimi and Tobey Maquire's Peter Parker still echoed around the minds and DVD players of people everywhere.

And, the thing is, for once, they're not that wrong. For anyone who has watched and liked any of the three Raimi-led adventures that spanned from 2002 through to 2007, there may be a definite feeling of deja-vu being served up by the new team of director Marc Webb and Andrew Garfield's Peter interpretation. The effects may have moved on in leaps and bounds - and trust me, there are leaps and bounds a-plenty to be seen throughout its 136 minute running time - but the story and its staging have not.

Sometimes its not fair to make comparisons, but some films just seem to call upon you to do so. When Nolan's Batman Begins arrived, no one sat and compared it to or thought about Burton's earlier franchise reboot simply titled Batman - 16 years separated them and also a totally different approach to not only the telling of the story, but the actual storyline itself. Those two major factors stopped all comparisons until The Dark Knight allowed people to compare Nicholson's original Joker with Ledger's depiction. Here though, the luxury and the sanity of those two fundamental factors, have been somewhat over-looked.

Webb, who delivered the wonderful (500) Days Of Summer showed that love in all its forms - doomed, destined, demented, demanding - was something that he was adept at portraying. This has not left him as the love story aspect of The Amazing Spider-Man comes through strong and thusly very engaging. Garfield's Parker isn't as nerdy as Maquire and Stone's Gwen is more alongside Dunst's love-interest Mary-Jane rather than Bryce-Howard's throw-away Gwen, but when the two share the screen together, they almost make you forget that upside-down kiss in the rain....almost! Garfield nails the awkward teenage boy asking the hot girl out at the beginning, but all-too-soon his shy side seems to disappear only to be replaced with a fairly confident man who has no persecution from the press or the Police for that long - no J.J. and The Daily Bugle to help keep him grounded and on his toes here, and Leary's Captain Stacy hardly works up a sweat for the vigilante.  That level of confidence took Maquire 3 outings to reach, and even then it was enhanced through a dangerous black-slimed Spidey suit.

Comedy is on-hand to help speed the proceedings along with most of it aimed at Garfield's reaction to his new powers - the crushing of an alarm-clock, the impossible task of applying tooth paste to a brush whilst half asleep, the knocking people out that want to cause him harm and apologising to them whilst doing so - which is then replaced with borderline cockiness - the "you've found my weakness - it's small knives!" line as he gets to grips (mostly on walls) with his abilities.

All this however is just smoke and mirrors to those who want to see a Summer Blockbuster and not some version of (500) Days Of Spidey - it's an adventure film with a superhero battling a big bad villain. Which is where Webb and co run out of steam alittle. Ifans' Lizard makes its appearance quite late in the day and never seems that hell-bent on destroying our hero - their eventual fights seems more perfunctory rather than prolific. The action sequences are good but that's not what most people will want after handing over their cash to the box-office... the likes of Avengers Assemble, Iron Man, Thor and The Dark Knight have all raised their own respective bars in the action-stakes and the ones here seem adequate as opposed to Amazing. And who wants to see The Adequate Spider-Man?

So, it's good but it needed to be better than that to comfortably sit apart from its slightly older sibling rather than squat in its shadow. The rally of the New York populace to Spider-Man and his plight to save them that featured in Spider-Man 2 gets a pale imitation here which has less of an impact since no one is really against him apart from The Lizard so why should we find it that stirring then? Oh, and the main reason why this has been advertised as a new beginning to the Spider-Man story where we find out that Peter Parker's parents had a secret that led him to becoming essentially orphaned and ending up with Uncle Ben and Aunt May - forgotten about and then ignored until a snippet that occurs during the end credits (so don't leave straight away if you see the set-up for the inevitable sequel.)

For those who have never seen the recent original trilogy, you will be pleased and in some places, awed at what Webb has done. For those of you who have seen AND liked them, you will find yourself mentally ticking off the comparisons whilst doing the occasional good laugh (Stan Lee's obligatory cameo is fantastic this time round) and semi-smile through-out.  With new franchise comes great responsibility.... MUST. TRY. HARDER.

UK release date: 03.07.12

Certificate: 12A

PROMETHEUS

Event movies seem ten-a-penny nowadays - every other week there's an "epic conclusion to the saga" or the "further adventures of..." demanding your attention and your cash. However, there's one filmatic event that has quietly been building up by word-of-mouth and loyal fan-base hysteria as bit-by-bit, clues about it have leaked out into our world.

Not labelled as a prequel to Scott's original game-changer Alien back in 1979, instead, his return to the sci-fi universe has been referred to as having the same DNA as his franchise-spawning horror where "In space no one can hear you scream." It turns out that this isn't just pompous marketing propaganda, but quite accurate - DNA is key to Prometheus. Alongside with the question of faith and how far would you go and what you would experience before you lose yours. Yep, Scott is back walking around on deep territory.

For those of you who have invested in the franchise that Scott unwittingly started some 33 years ago, you may find yourself in Marmite land - you'll either love it or hate it. This ultimately will give hints and suggestions to the questions you never knew you had in you regarding the Alien mythology rather than answer them directly. Prometheus straddles the divide between "stand alone film," "existing franchise builder" and by the end credits, a possible "new franchise starter." For people willing to open up to the possibilities that there can be more questions to Alien related films other than "where did they come from?" and "who's the new Ripley?" they will be rewarded with a plethora of, admittedly more left-of-field conundrums such as "what the hell?" and "where's the Space Jockey with the burst-through ribcage?" This is definitely not a direct prequel. Nor is it a horror set in space.

Dark, abandoned and unloved corridors are not present to have you gripping your armrest - here the varying degrees of terror comes from not being chased by the unknown but by one of the greatest fears around - man's own stupidity, ignorance and desires. Like Burke "fucking people over for a goddamn percentage" in Aliens, it's what the crews intentions and reactions are that drive the moments of nail-biting. Now, with an extended crew count here - listed as 17 on the ships log - Prometheus does suffer somewhat from in-depth characterisation that the smaller body counts of Alien and Aliens had. There's not enough time for all of the crew to step into the spotlight to have you care enough about them when the shit hits the fan. So when two characters make the ultimate sacrifice, their act does not have the impact it should have had due to them being left on the side-lines once the landing on the planet and the discoveries start to unfold. The emphasis is on the few rather than the many.

The few central characters however are given more than ample time to win you over or to be despised for either their lack of humanity or intelligence. Rapace, the nearest thing to Weaver's female-empowering Ripley, is the films more-theological anchor to the "why are we here?" plot as opposed to Weaver's more survival-instincted "how do I get away from here?" female heroine. The more self-preservation aspect is secured to Theron's seemingly ice-cold corporate executive who represents Weyland Corporation aboard the ship. Her stand-offishness allows for uncertainty about her intentions and origins and one of the films many surprisingly funny moments - her one being with Elba's no-nonsense Captain and the most unusual way of asking for sex committed to recent celluloid memory. The biggest surprise is Fassbender's artificial David - a perfect mix of Holm and Henriksen's "artificial person" that wiles away the years of hyper sleep by basketball-cycling and developing his A.I. to levels that could prove disastrous to everyone onboard. An enquiring mind, regardless of whether its composed by wires or synapses and not bound by a fear of consequences  is a dangerous mix, especially on an unknown planet with a collection of vases that hold either death or re-birth, depending on your point of view.

The characterisation maybe uneven where all the cast is concerned but where there is no inconsistency is the visuals and the tech throughout the film. The rundown, low paygrade levels of Alien and Aliens have been replaced by Weyland Corporations trillions of dollars investment to explore new worlds and new possibilities at the behest of its creator - Pearce's ages-old Peter Weyland. Everything is sumptuous and eye-dazzling to the point where the less-tense, more talky sequences can still hold the viewers attention with the ingenious tech in the background or scenery throughout. Although the glorious tech actually helps rather than distracts in one of the more nerve-shredding sequences where an emergency operation is required that is frankly, outstanding in the field of horror/thriller.

So, just like The Phantom Menace seemed to have nothing to do with the events of A New Hope, Prometheus seemingly is light years from its DNA sibling Alien. However, with its open-ending and some small but significant  irregularities - the planet is LV223 and not LV426; the Space Jockey is absent from his chair - there is still a bridge to build from this foundation that should span from here to there. As David says before he wittingly unleashes hell -"big things have small beginnings." And those words not only ring true but have an even greater emphasis once we hopefully see what happens after the events of LV223 are brought back to the big screen.

UK release date: 01.06.12

Certificate: 15

DARK SHADOWS

If you still weren't convinced that Tim Burton was The King Of Kooky with all his previous efforts, then be prepared for the latest slice of "weird" as he, along with long term partners Depp and Bonham Carter, show you how to do American 60's soap opera... replete with vampires and witches. Naturally!

From the get-go, unlike his recent Alice In Wonderland, you know you are in the hands (and God help you, mind) of Tim. Everything the camera glides past - which happens ALOT here - is distinctly Burton-esque. The towns - Liverpool, all "smelling of urine" and of course the home for the bulk of the film, Collinsport - scream out a mixture of his Sleepy Hollow and Edward Scissorhands. And of course, the stately home of the characters - Collingswood itself - has flashes of Beetlejuice and Corpse Bride splattered amongst its lamp-lit rooms and ornate decor.

However, a Burton film wouldn't be a Burton film on visual impact alone (take note Mr. Bruckheimer!) Quirky characters, idiotic individuals, delirious dialogue and Depp doing "devilishly delicious dude" are what audiences demand and expect from their time in the company of the two filmatic friends. Here, Depp, channels Oldman's Bram Stoker's Dracula with elongated hand gestures mixed with his own Captain Jack Sparrow with raised eyebrows and quizzical/bemused looks at such things as concrete roads and the knowledge that horses are not the preferred mode of transport anymore, but something called a "chevy." Alot of the humour is derived from the Back To The Future "fish out of water" scenario - Depp's Barnabus Collins mistaking the McDonald's logo as a sign of the devil; lava lamps as a vessel for pulsating blood; young girls sitting on a sofa late in the evening as a prostitute and of course The Carpenter's singing on the TV as a "tiny songstress." Some of these moments have made it to the trailer, but note, the actual film is not a full-on, laugh-out-loud fest that it looks to be be. This is more along the lines of bizarre and bemusing like his earlier works than what the trailer hints at with a change in style and direction for him - his studio-interfered Planet Of The Apes showed that Burton should stick to what he does best. And here with his Dark Shadows, he mostly does.

It is a surprise that the OTT scenarios that occur frequently in the land of soap operas hasn't drawn Burton in until now. He seems perfectly matched for the issues of unrequited love, pent-up desire and absurd left-of-field twists that they throw out on a weekly basis. Obviously, these are dressed up to match the big screen and heightened state of drama queen that is called for to keep the attention for 2 hours straight - the pent-up desire results in a much more aerobatic display of sex than the infamously hilarious The Tall Guy sequence and the battle of businesses between Green's witch and Depp's vampire is depicted in a movie montage backed by all the great songs from the 70's which then results in a stand-off finale which moves into Death Becomes Her territory rather than Dynasty cat-fight.

Beautiful touches are strewn throughout the film - the oldest cleaning lady in the history of cinema who will clean anything in her slow but methodical way, even Depp's face when it's covered in Green's bile; a 1700's vampire trying to find a comfortable place to sleep in a 1970's world (cardboard boxes, closets, the roof of a four-poster bed-frame); Barnabus referring to Alice Cooper as a "hideous female" time-and-time-again - these moments interspersed with Pfeiffer in fine Stardust meets The Witches Of Eastwick mode, Bonham Carter in true Bonham Carter mode and Green beating her sexy tour-de-force appearance role in Casino Royale, all add up to a fun mix of kooky and quirky that you would expect but not the giggle-fest that the trailer suggested. Upon leaving the cinema, you'll find yourself liking it alot more than when you were watching it - just like Depp himself, Dark Shadows grows on you the more you think about it/experience it. Groovy.

UK release date: 11.05.12

Certificate: 12A

THE YEAR AHEAD - 2012

So, the world and all its inhabitants made it through the foretold "rapture" and some religious guy in America apologised and said that he may have got the date wrong! Good news then for the British Olympics staff and its competitors!

And also for Hollywood and the film industry who had lined up an impressive, even by their standards, list of entertainment for the popcorn punters this year.

The film studios are already gearing up to release their big guns from this month onwards to dominate not only the lucrative Summer season but also the awards season with their releases

slated from October, so, how about a flash forward for you to plan ahead each month and either book the baby-sitter, cancel the stag/hen do, re-arrange that reunion, record that football match rather than watch it live or.... insert the relevant scenario that matches your busy life here!

The following will pick each of the coming months and highlight some of the movies that hope to score big-time with your attention and your pocket money... so the list is there, all you have to do is choose what out of them gets your vote for your popcorn-consuming calender...

And as the poster for the "end of the world" film stated, you were warned... by me!

JANUARY

WARHORSE

Spielberg steps up to the plate once again to weave his magic and this time it's a cherished play that has captivated all that have seen it that gets his attention. The phrase "never work with children or animals" was clearly never meant for the man who gave us E.T., Jurassic Park or Empire Of The Sun. Black Beauty, Seabiscuit, make your way to the glue factory...

FEBRUARY

THE WOMAN IN BLACK

Or, as some would call it, what Harry Potter did next! Again, another stage play adaptation except this time its more ecto-plasmic rather than equestrian. Daniel Radcliffe plays the unfortunate soul sent to sort out a will in a house that will forever change him. The play is awesome so the film has a lot to "live" up to...

MARCH

THE PIRATES! AN ADVENTURE WITH SCIENTISTS

Tough call this month with CG-heavy offerings of Wrath Of The Titans and The Hunger Games, but, lets face it, anything from the creators of Wallace & Gromit has got to be the one to go for! Showing that Brit humour can launch a thousand ships still, it looks like an offering that the whole family can enjoy - arrgh me hearties!

APRIL

THE AVENGERS

I won't lie to you, this is one THE big ones for me! The man who created Firefly gets to show exactly how ensemble movies should be made with some of the biggest egos to contend with! Finally, Iron Man, Thor, Hulk and Captain America get to battle it out against a formidable foe, and each other, whilst being helped by Black Widow and Hawkeye and no doubt called mutha's from Samuel L. Jackson's Nick Fury.... sounds like heaven!

MAY

MEN IN BLACK 3

A long time coming, the third installment of Earth's last defence against the worst scum of the universe goes all Back To The Future time-trippy in order to save the day and the franchise. With not much out around the same time, this could well make a killing at the box office until the big Summer hitters are released.

JUNE

PROMETHEUS

The possible prequel/side-quel/alongside-quel of what is regarded as one of the finest sci-fi horror films of all time will finally burst forth like a chest-buster onto the screens with original Ridley Scott behind the camera and a host of who's-who waiting to be killed off such as Michael Fassbender, Noomi Rapace and Charlize Theron... Commence screaming.

JULY

THE DARK KNIGHT RISES

There shouldn't be anything to say about the third and final installment of Chris Nolan's genre-changing Batman saga except for it's finally here! With both director and star saying there will be no more Bat-antics, expect this one to go out with a big bang!

AUGUST

BRAVE

Pixar are back! And after comments regarding that their output has mainly related to only animals and such, they now appear to be tackling an all-human environment and addressing the unfair criticisms that females have played only minor roles to date. Either way, when Pixar are around every other film should beware!

SEPTEMBER

PARANORMAN

For those who got to see the delightful Coraline when it was released, the same quirky and enthralling style is brought to the tale of a boy this time whose abilities will draw him into a world of adventure, excitement and danger. All accompanied by a U certificate though so bring the family!

OCTOBER

SKYFALL (aka James Bond returns)

There's not much floating around regarding Daniel Craig's third outing as 007 except for the facts - Sam Mendes of American Beauty fame) directs, Javier Bardem is the villain, and Ralph Fiennes and Albert Finney join in alongside regular Judi Dench. When the trailer hits, it will be added. Until then, here's a reminder of how the reboot started...

NOVEMBER

GANGSTER SQUAD

The guy that gave us Zombieland and 30 Minutes Or Less, goes all noir and serious with this LA-based thriller with Ryan "so hot right now" Gosling's 1940's cop trying to take down Sean Penn's big gangster. Expect tommy guns galore, see? Again when the trailer surfaces, expect it here...

DECEMBER

THE HOBBIT: AN UNEXPECTED JOURNEY

Honestly, there is nothing to say except, for those of you who felt Christmas time ended with the release of the final chapter in The Lord Of The Rings trilogy back in 2003, fear not! With Peter Jackson back at the helm and Martin Freeman as the only Bilbo Baggins he wanted for the role, the first film of the two-parter graces our screens whilst New Zealand gets ready for the influx of tourists again!

So, for the time being, just know that for each film I've listed above, it will be up against at least another ten minimum in that particular month. There's a host of other note-worthy flicks but rest assured, when I can they will be here for you to peruse.

What are you looking forward to then? And did you know any of them?

MISSION: IMPOSSIBLE - GHOST PROTOCOL

And so the tradition of each Mission Impossible being helmed by a different director to stamp their own personality on the franchise continues, this time with an intriguing addition...

Brad Bird, who has been mainly progressed in the realms of CGI - The Incredibles, Ratatouille - seems to have made a determined effort to keep away from the use of computerised imagery to deliver his first live action film. That, plus the fact that his star, Tom Cruise, has wanted to keep it as real as possible for his audiences (every film boasting that he does his own stunts) have culminated in what could have been a realistic, but boring "adventure" for the viewer.

But then this is Mission: Impossible terrority and boring is not something that can be chosen to be accepted or not - bigger, louder, ballsier are what is called for, and what is served up in spades. Lessons have been learnt from the previous three outings and thankfully a fair chunk of them have been applied here. The "lone agent" flaw of the first and the "excessive double-cross twists" of the second were shed for the third (and still the best) mission and here, although not behind the actual camera, the presence of its director, J.J. Abrams, can still be felt.

Bird and Cruise move more to the team-play element which allows Pegg to step up to centre stage as secondary character to Cruise, bringing the main bulk of comedy to the proceedings. He's not able to shine as he has in his own set of films but despite a decidedly American blockbuster script and a leaning towards thrill-a-minute antics, there are still smiles and giggles frequently to behold. The addition of new hero/kid on the block Renner does feel like the unsubtle beginning of the torch passing from older Cruise to him to keep the franchise afloat in years to come, but it doesn't detract from the immense fun that the film is.

As you would expect, there are set pieces designed to make your jaw drop, and if viewed in the imax format, these should succeed. The crown rests squarely with the climbing antics in Dubai on the 130th floor (hence heavily used in the marketing campaign for the film) but Ghost Protocol is not just a one trick pony. The automated car park finale nods to another of Cruise's tech-centric movies - Minority Report - and the beginning prison break sequence has a corridor scene that can be seen as the first attempt to Americanise OldBoy before Will Smith tries it later on.

Good, solid entertainment, the only thing lacking here, which alot of Bond films have suffered from, is a down-and-out, right bad ass baddie. Having a older, academic guy go toe-to-toe with Ethan Hunt feels like too much suspension of disbelief and he's never given enough motive or dialogue for you to want to boo his appearances or cheer his inevitable failure. Apart from that, this is one mission you should chose to accept.

UK release date: 26.12.11

Certificate: 12A

THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN

Adventure. Spectacle. Thrills. Those were words associated with one man in particular until he seemed to grow up a little and start delivering more thoughtful faire. They still entertained none-the-less, but a restrained eye seemed to be behind the camera.

Not anymore! The 'Berg you remember is back! And with just the right film as well!

Through out its seriously packed 106 minutes, you cannot escape the idea that the people behind and infront of the camera had as much fun making it as the you and the rest of the audience are having watching it. It's like Spielberg has become a child with a new toy - and the toy is the same tech that helped Cameron bring the entire world (box office-wise at least) to the planet of Pandora in Avatar.

With it, the realisation of Herge's well-known world of the boy reporter is so authentic that, for most of the time, you forget that you're watching a motion capture movie based on the comic books and just accept it effortlessly. Infact, the only times you're reminded that it's not live action is when the stunts and set pieces take all those memorable moments of the Indiana Jones films and then pumps them full of steroids and sugar, and goes off the deep end AND the chart! If there is one criticism that can be levied at his and producer Jackson's tale is that there is hardly anytime for the audience to catch it's breath between fantastical OTT set pieces. As soon as your eyes and heart have adjusted to the escape from Captain Haddock's ship, it's straight into a flight from hell which then leads into a flashback battle upon the high seas.

The imagery and cinematography on display here are some of the most awe-inspiring that either Spielberg or Jackson have created over their careers - a handshake dissolves into the shape of a sand dune; two battling ship masts tangle together to create a fiery theme park ride amongst the pirate carnage; Snowy the dog can be tracked through a herd of cows as his head hits their udders; the front wheel and handlebars of a motorbike becomes a makeshift repelling device - all these dive across the screen at break-neck speed to be replaced by another set of smile-inducing, eye-rubbing wonders!

The humour is constant throughout with the two slightly underused Thomspon and Thomson (Pegg and Frost) detectives providing slapstick for the kids and Haddock (Serkis) the laughter for the older viewers. The touches in the back and fore ground give equal pleasure as well - you'll never wonder again how hotels earn extra stars on their ratings after the bazooka'd dam sequence...yes, the film is that crazy.Not only does the feel and excitement of Indiana Jones soak its way through the core of the film, there are nods to the likes of Jaws and of course for the true Tintin fans out there, clues and subtle hints are to be spied all over the screen, from rockets on coffee mugs to a golden crab fountain and an Inca statue.

A true crowd pleaser, this is the most fun the two big directors have had in a long time and all that is transferred onto the screen and into the hearts and minds of the viewer. So much happens you'll need a second viewing just to try and remember half of it! Go see it, by blue blisterin' barnacles!

UK release date: 26.10.11

Certificate: PG

REAL STEEL

When a mediocre Disney ride became a hit film franchise, Hollywood seemed to look under every rock for a future money-making hit. After a deal involving a board game company and a large studio, we now have the likes of Battleships to look forward to, with the possibility of Monopoly as well. Until its their turn to role the dice then, anyone remember Rock Em Sock Em Robots? Hollywood certainly does...

There are films that become so iconic that they create their own wannabes - "Die Hard on a..." "Indiana Jones-esque adventure..." and of course, "Rocky-like..." Real Steel not only falls into that last category but conjours not one, but two of the long-running franchise entries. So long as the source is acknowledged and respected, that kind of homage can sometimes work.

Levy who delivered such fare as the Night At The Museum movies and Date Night has shown that he can do family feel-good films and people out-of-their-depth movies and here he doesn't have to try too hard to continue that trend. Despite its more mature-based foundations of Stallone's underdog story, he has an ace up his sleeve to help merge together the two types of genre that he has dabbled in - and that ace is Hugh Jackman.

Every bit the lead actor, some of the film gets by on his smile and charisma alone. Even in the more cornier elements of the story - the ex-partner's sister who hates him, the revenge-seeking bully/small time hood after blood and money - it's Jackman who keeps the interest up on the screen. The whole Rocky IV finale involving a Russian-owned Megatron look-a-likey champ vs the peoples underdog cross between WALL-E and C-3PO does stretch the believability line abit thin but by that time, you've already bought into the "cheer on the little guy" mentality that these types of films foster.

With another Stallone movie rifted on - Over The Top - the father learning to bond with the son he never had over a mutual sport interest, fills up most of the running time but luckily the child (Goyo) doesn't grate too much. His moments with the under-developed robot, Atom, are his best, especially the humouress dance sequences that become their trademark before they enter the ring.

The robots themselves are impressive looking but its their lack of personality that holds back the engagement from the audience. It's not until the final fight of small, no-chance Atom against the might Zeus, where you start to feel for him and want him to win. After all, these robots don't hurt or die so it's hard to connect with them as there's no real apparent danger. That changes when, with use of WALL-E esque sound effects and baby-blue glowing eyes, you start to think that Atom may not be an unfeeling machine.

A good fun family film where unusually the effects help the story rather than swamp it, Real Steel is a definite contender for your attention but not necessarily a undisputed champion.

UK release date:14.10.11

Certificate: 12A

THE LION KING 3D

1994 saw the continued meteoric rise to the heights that "The House Of Mouse" had once achieved in its heyday. Disney's The Lion King roared into the cinemas and hearts of the world, gathering 2 Oscars and taking its place as one of only 3 animated movies in the top ten highest grossing films of all time.

Now, with the revival of 3D , companies and movie makers are reassessing their back catalogues and bringing them back to the screen in a way that should hopefully bring new levels to the experience, such as Cameron with Titanic and Lucas with Star Wars.

No matter how many times you may have watched it, either first time around or subsequently at home with the family, it is one of those timeless classics that, over the years, has had alot of competition through advances in technology that so could have easily tarnished its longevity. Traditional animation, when viewed up against the likes of Pixar and DreamWorks' CGI library, can all-too-quickly seem dated and weak, to the point where the story becomes less enchanting due to the eye concentrating on the method of delivery rather than the whole experience itself.

This is never an option here. From probably one of THE best opening sequences not only from Disney but in modern cinema, The Lion King earns the mantle of "classic." The presentation of Simba at Pride Rock was a glorious marriage of iconic imagery with a heart-stirring song in "The Circle Of Life" that now has 3D to bring it further to life. Moments such as the pelicans viewed from above as they make their way along with the other animals to the ceremony are awe-inspiring to behold.

Made for 2D, it never-the-less feels that it could have been designed with the addition of 3D at a later date. The wildebeest stampede, which with the aid of fledgling CG back then was a standout sequence along with Beauty & The Beast's ballroom scene, becomes that much more thrilling with the third dimension involved.But it has never been just about visuals. This is one of those prime examples where all ages are catered for. Jokes are stacked up and rolled out for the young and old equally, and even some at the expense of Disney themselves - when asked to stop his depressing song, Atkinson's hornbill starts to sing the often ridiculed "It's A Small World" to which Irons' evil Scar begs for "anything but that!"

Many people will remember the signature tune - "Hakuna Matata" - but there are so much more great tunes to be enjoyed. Irons' "Be Prepared" is arguably the best villain song ever recorded and the surreal imagery accompanying "Just Can't Wait To Be King" conjours up vague memories of Dumbo's "Pink Elephants On Parade."

A film to be proud to own or to have seen, this is something that all kids of any age - young and old - should see, especially since the 3D conversion is more like Avatar than Clash Of The Titans ... go on, treat yourself.

UK release date: 07.10.11

Certificate: U