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

PACIFIC RIM

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

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

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

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

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

The reply is: No. And yes.

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

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

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

UK release date: 12.07.13
Certificate: 12A

MAN OF STEEL

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

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

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

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

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

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

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

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

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

UK release date: 14.06.13
Certificate: 12A

STAR TREK INTO DARKNESS

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

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

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

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

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

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

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

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

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


UK release date: 09.05.13
Certificate: 12A

SPOILER ALERT REVIEW!

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

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

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

IRON MAN 3

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

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

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

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

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

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

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

Cool. Neat. Go see.

UK release date: 26.04.13
Certificate: 12A

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

CLOUD ATLAS

And so it seems that the time of "unfilmable books" turning into films continues. After the huge success of Life Of Pi we now have another piece of monumental movie making mountaineering to climb. This time however it was not the technology holding things back like Lee faced with bringing a Bengal tiger to life in the confined space of a drifting lifeboat, but of the multi-layered and many plot lines of the source novel itself.

The team that brought the now immortal line of "I know kung fu," were not the people that would easily spring to mind to be able to handle such a time-spanning and worldly-hopping experience such as those that unfold during the many centuries of Cloud Atlas but attempt it they did.

And succeed they have.

Along with Tom Tykwer - the man responsible behind the almost equally multi-layered plotting of Run, Lola Run, The Wachowski's and he have both adapted David Mitchell's novel for the screen and then, just to add to their plate, directed it too. This is by no means an easy task. There are 6 different stories that take place all in different time zones, different locations, different dialects and, spoiler alert, different planets entirely.

To do this, the trio have taken the source novel and its framing and, although nodding to whilst keeping true to it, have opted for a more novel but satisfying cinematic approach to the stories and their inter-connectedness. This doesn't mean that they have made it an easier experience for those who do not wish to or who are not used to having their films demand things from them such as attention, retention and suspension. Some may not like the idea of "souls" moving through time and continuing their journey towards their respective goals - continuously "meeting again and again in different lives and different ages,"- but to help the viewer make this connection, the trio have devised a plan.

And a rather cunning one it is at that! The central actors all play different parts in all of the six stories that weave across the silver screen, however, they are not the same characters. Some are not even the same gender. This gives way to a nice little side line during the films just-shy-of three hours running time - spot the Tom Hanks/Halle Berry/Jim Broadbent/Hugo Weaving/Jim Sturgess/Doona Bae/Ben Whishaw in all of the six stories. They are all there, even in the background, so if you feel the time-jumping, soul-swapping stances of the film itself are slipping away from you, you could always play the Where's The Actor until the end credits reveal them to you.

The actors themselves seem to have a great time, revelling in the different types of challenges that their characters face in the seemingly different styles of genre film-making presented - a futuristic The Handmaidens' Tale-esque world which is the closest to The Wachowski's The Matrix where all is not what it seems and revelations of The One who is to open every ones eyes to the truth; a 1970's conspiracy thriller of Watergate proportions; a 1930's tale of forbidden love and doomed souls due to society and its constraints - all these and the others are presented together yet very much apart.

The key to this is the editing of the film itself and of the six plots. A significant reveal or image on one story quickly cuts to another with that point carried over thus helping you to not only make the connection but to keep it and then keep track of it when the next jump takes place, whether it be on a ship in the 1800's or on a hover-bike in the far-flung future. This type of confidence in their work and in the capacity of the viewer to not only to connect but to enjoy is both brave and rewarding for all involved. The only big leap of faith that the trio have taken is with the dialogue - in particular the dialect that bookends the film. The story of a world where the earth is inhabited by the peaceful tribes of Tom Hanks and the cannibalistic tribes of Hugh Grant has its own futuristic language which is at times hard to follow and can create a distance between the viewer and events, but overall the message does break through that barrier and balance is easily restored.

A film that shows that when given the chance, The Wachowski's along with Tykwer can deliver a complex story and not let it get crushed under its own message - part two and three of The Matrix trilogy to be exact. All whilst utilising effects to help rather than hinder the overall experience, Cloud Atlas is a brave piece of movie-making and one that is well worth the time and effort that it asks of you.

UK release date: 22.02.13
Certificate: 15

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!

DREDD 3D

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

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

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

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

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

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

He is the law!

UK release date: 07.09.12

Certificate: 18

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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

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TOTAL RECALL

For those of you counting, or old enough to remember, it's been 22 years since Arnie told himself to "get your ass to Mars." Those who do recall (sorry) Paul Verhoven's OTT interpretation of the short story We Can Remember It For You Wholesale may find themselves smirking as the beginning credits flash up on the screen - "Original Films presents Total Recall." Original? Hah! Another stale cash-in from a "fresh out of ideas Hollywood" more like!....

And you'd be both right AND wrong. As a film that isn't compared to either its original source material or the 1990 Schwarzenegger-starrer, this is an average, run-of-the-mill Summer blockbuster that follows all the rules for popcorn-punters and ticks all the necessary boxes - sexy stars, big action sequences, good effects, ludicrous-but-easy-to-follow plot all rolled into an enjoyable 2 hours running time.

What is evident whilst watching Len Wiseman's fourth foray into directing, is that alot of time has been spent in discussions about what the future would look like. It wouldn't be surprising to find out if there was a "think tank" (not unlike Spielberg used in creating the look and feel of Minority Report's world) used here for Total Recall - but more about Minority Report later. The "phone in the palm of your hand" (a genius idea and so desirable) along with Police "energy harness guns" and essentially a skyscraper-sized lift that runs through the Earth's core between the films two locations, are believable but also breath-taking at the same time. The hover cars have been done before (still not at Minority Report just yet!...) but with the storyline stating that Earth has, through its ignorance, misuse and wars, has depleted most of its habitable land, thus housing has built upwards and the hover cars can magnetically float above and below the raised "roads."

Now, for those that are familiar with the previous efforts/incarnations of Doug Quaid's "who the hell am I?" exploits, there is alot of changes to deal with. In a refreshing, and somewhat surprising turn of events, in this tentpole Summer Blockbuster, there is NO America! We have the UFB (United Federation of Britain which contains the UK and Europe) and The Colonies (Australia). A tunnel that runs through the Earth's core that links them via a massive lift is what the "downtrodden workers" of The Colonies have to use to keep the UFB's in the lifestyle they have become accustomed too which is home to the films grand-ish finale. Up to, and including that point, Wiseman's version sets itself apart by trying the more recent favoured style of "grittier" film making. Gone are the jokes, wisecracks, one-liners and absurd feel and in are the handheld camera shake, moody looks and tortured souls trying to fathom out there place in life. Farrell may act the pants off of Schwarzenegger, but with his turns in Horrible Bosses and In Bruges, it's clear that he could have been given and easily pulled off a little light relief to increase the films enjoyment levels. He does hold the film together but for the most part, it is he and Beckinsdale that share the responsibility of not only moving the ridiculously-fast-paced story ever-forward, but keep you engaged throughout. She as his "wife" has a much more expanded role and easily replaces Sharon Stone that qualified for "a divorce" back in 1990 and takes up the role of the original Quaid hunter filled by Michael Ironside.

There are some nods to the original cinematic adventure - look out for the "two weeks" lady at the border control and of course the three breasted call girl that makes Quaid wish he had three hands - but that's your lot. It seems that there are two other movies that have more than a nod, or passing resemblance, to. The area of The Colonies is straight out of Blade Runner - all rain, neon signs, Asian crowds, see-through umbrellas and an overall feel of disrepair, decay and despondency. The UFB on the flipside is straight out of Minority Report - an expanse of impressive architecture linked by multiple levels of roads that have thousands of fast hover cars zipping across them with suited Police-types that carry amongst their arsenal non-lethal weaponry - even to the point where the cinematography matches that of Spielberg's sci-fi hit with lens flare abounding throughout scenes filmed in that location. This dies tend to somewhat draw the comparisons away from the original Total Recall but to replace it with two recognised classics such as Blade Runner AND Minority Report, wasn't maybe such a clever idea! They even have a sequence where a confused and weary Farrell sits tickling the ivories of a piano in exactly the same way that a confused and weary Ford does in the unicorn dream scene from Blade Runner! Brave, bizarre but blindingly foolish.

Better than it should be due in part to Farrell but especially Beckinsdale - all others are wasted (Cranston and Nighy) or sketchy (Biel) - and the impressive detail in the tech side of things, it could have done with abit more tongue-in-cheek than stares-into-distance plus it could have done with a huge dollop of "is this real or rekall?" rather than action sequence after action sequence.

UK release date: 29.08.12

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

MEN IN BLACK 3

Sequels. They're made because either the multitude of fans demand it, the creators still have affection for their characters and a story to tell, or because the money-makers won't pass up the opportunity to milk the cash-cow dry.

Its been 10 years since MIB II - the sequel that fans wanted but most were sorely disappointed by - rolled into cinemas 5 long years after the first outing took the world by storm (and quite rightly so.) The doubling up on the time gap between that and this third outing has sadly not doubled up on the fun factor or the excitement levels.

So, MIB 3 feels like it definitely slots into the last category - especially when you add to the mix that filming started on it before they'd finished the script. That never bodes well for the final product, and the reunion of the first, last and only defence of the worst scum of the universe is no exception to the rule.

Now, people can say that sequels will always suffer from the laws of diminishing returns, but there are ones that do buck that trend, and it's those that remember where they came from whilst moving forward on their journey that make, if not better, then at least as good, viewing. Stories that link back to the initial appearance, or connect the dots, or make references or nods to the beginning of the franchise, help to not only make it worthwhile to follow, but acknowledge the fans who helped put the films into the record books. Here, there is little or no respect given to either of the other two adventures of Agents J and K. By this, I mean that there is precious little reference to any scenes or situations that viewers would want or expect to see - the MIB Headquarters was built in the 60's and Smith's J travelling back in time to 1969 should have invited commentary at least on the furniture and style of the building, or some jokes but here in MIB 3, although there is a J, an O and a K, there is a distinct lack of E to complete the picture and deliver one of the things that made MIB so great.

The banter and not always successful "learning on the job" between Smith and Jones gave to the screen a duo to match the likes of popular Riggs and Murtagh of Lethal Weapon where youthful exuberance clashed head on with worn-down experience. Here, the balance is absent because Jones is mainly absent, replaced by a greatly convincing Brolin. His K isn't jaded so the banter clashes are few and far between - and these are sorely missed. These, along with the unfortunate and mis-guided interactions of J and the hidden alien races throughout New York City have been sidelined in favour of a bland, by the numbers back in time travel plot that doesn't even have the courage to present the difficulties that Smith's black agent would have faced in America during the 60's.

Time travel, as depicted in The Terminator and the Back To The Future trilogies, can deliver scares, thrills and laughs in equal measures with a healthy dose "what? how? why?" as well. The biggest thought into the aspect of time travelling - or time jumping in this case - appears to be the method by which it is achieved. Visually, the process here is one of the best ever committed to celluloid but this brief flash of brilliance only goes to make the overall disappointment that much harder when you realise what could be accomplished if the film had been thought out from the very beginning.

It's not an awful film, but when you start to think back and remember exactly how good it all started off in 1997, the taste of this one becomes all the more bitter. You long for the "ticks and shuffling" of villain D'Onofrio with his anger management issues concerning cockroaches rather than the strangely cast Clement who tries to do the same but has to make do with losing it when people keep calling him Boris The Animal rather than Boris.

Fans of the franchise may well wish that the neuroliser actually existed so they could wipe the memory of this, and the second fiasco from their minds....

UK release date: 25.05.12

Certificate: PG

MOVIES AND THE "WOAH.. DEJA VU!" MOMENT

With the medium of movies in existence for over 100 years now, it doesn't take a degree in rocket science to realise that an aspect of repetitiveness may occasionally creep in from time to time.

Your favourite actor or actress may have a certain catch-phrase, or a certain look that they pull off that traverses some of their films; a director may continuously have his camera move in the same way to add a certain sense of gravitas to the situation, but the actual act of "seen it before" goes way deeper than that!

As with some of the greatest - and dumbest - discoveries of the recent age, the combination of access to the internet AND what would appear to be an infinite amount of spare time on their hands, people have found the "glitches in the matrix" - or to non Matrix fans, all those moments where a tiny voice screams in your head that you've heard/seen it all before.

So, here for your perusal, are some of the situations that, dependant on your frame of mind, could be classed as either: homage, lazy writing/acting, classic-making cinema, or proof that film makers need to up-their-game if they truly want their pieces of art to be classed just as that - classic, cult art - and not on a shop shelf gathering dust...


BREAKING THE FOURTH WALL

My personal favourite, be it TV or cinema, is when the character looks directly at you - just you. This act cements the link between them, the do'er, and you, the viewer. It draws you in, letting you in on their joke, their pain, their love, their life. Known as "Breaking The Fourth Wall," here is a collection of your heroes, your villains, your stars, talking to you personally. How many do you recognise?





SON OF A BITCH

Growing up, things that were considered wrong, or naughty, have, over the years, become either more tolerable or acceptable. Some have even become non-existent! What was once a swear/curse word back in the 70's and 80's, are now commonplace - some have even changed into greetings or a way to express a moment of clarity or disguised adoration. "Son of a bitch" is just such a phrase! Look for yourself....

YOU JUST DON'T GET IT, DO YOU?

So, here's the one that should divide the people - is this a great way to propel the story along OR is it just damn lazy writing? At over 8 minutes long, I'm guessing that most people will come down on the side of "lazy writing" rather than fantastic screenplay motivation, after watching this montage. But then again, I could be wrong - maybe I just don't get it....





IT'S GONNA BLOW!

So, you're about to spend a huge amount of your budget on blowing up something infront of the camera and you just know (fingers crossed!) that it's gonna look cool. What do you do to let the audience know this so that they can be prepared for it and revel in its awesomeness?.... So that they don't miss a single second of what probably took months in planning and execution to pull off?.... Easy! Get one of the dumb characters to tell everyone!





Recognise any of the above? Did it put one of your fave films in a new light? Have you dug out that script you were writing - you know, the one that you've been working on for a few years now, the one where the protagonist learns a few valuable lessons along the way etc - and a full bottle of tippex and changed a few lines of dialogue perhaps?.... If so, then "happy trails Hans!"

AVENGERS ASSEMBLE

And so the time has finally come for the beginning of Summer with its blockbusters and of course the 4+ year plan of Marvel to dominate the future of SuperHero films from here on in.

With the arrival of Iron Man back in 2008, and the subsequent additions of The Incredible Hulk, Thor and Captain America: The First Avenger to the Marvel universe, its all been leading up to this moment where all the eggs are in one basket and a lot of studio heads are holding their collective breaths....

They needn't have worried. The task of uniting already defined characters along with actors who are used to running their own show was given to one of the few men in the industry who has shown that ensemble pieces are his speciality - Whedon. His flair for giving a varied cast equal billing, airtime and each a slice of his delicious dialogue was apparent in the likes of Buffy The Vampire Slayer, Angel and Firefly! And the meeting of such large onscreen characters as Iron Man, Hulk, Thor, Captain America, Black Widow and Hawkeye is no exception - this is undoubtedly the most fun you can have in a cinema with your clothes on!

Whedon has managed to duplicate the under-seen and under-valued mix of action, adventure, complicated back story, and above all fun that made his Serenity a joy to watch. In a big buck, all singing and all dancing CGI-fest, you'll be so pleasantly surprised at how many times you not only smirk and smile at events upon the screen, but at how many times you actually will laugh-out-loud at pure comical genius that covers not only words but physical actions too. And it never deters from the action nor the spectacle that pushes its way to the fore frequently as the quarrelling Avengers try to learn to work together to save the Earth from the villain from Thor - Loki (Hidleton in fine vengeful "kneel before me!" mode.)

What could have been so easily the Iron Man and Friends film has an ace up it's spandex sleeve in the form of its S.H.I.E.L.D agents - Fury, Coulson and Smulders - who bring the human element to the earth-shattering proceedings. Whether its Agent Coulson all star-struck at his childhood hero Captain America, or Nick Fury disobeying direct orders with a loaded bazooka, we are reminded that flesh and blood heroes are in real danger and can be killed off - after all, this IS a Whedon film and that's something that the man doesn't shy away from, ever!

The humour is based at fans already in the know from the previous works and newcomers to the Marvel universe with surprisingly a lot of the big laughs based around Ruffalo's Hulk and not Downey Jr's Iron Man. Whether its the chilling but ill-timed rant from Loki that jaw-droppingly gets cut short by the big green man or when he lets off a little steam and frustration at the person next to him - Thor - during the big battle sequence (with shades of ID4, The Matrix Revolutions), Hulk becomes not only the ace up the Avengers sleeves, but Whedon's too.

With a lot being said about the humour, some may be concerned that the action is not up to scratch but rest assured that here, Hulk does smash along with the other Avengers' who definitely "bring the party" to us. Multiple story strands all weave together seemlessly with each of them allotted their specific task to carry out whilst learning to trust each other and work together... or else!

A great time for all, this shows that the foundation is not only sound and solid but it demands more trips and adventures, hopefully under the watchful eye of Whedon - the ONLY superman for the job.

UK release date: 27.04.12

Certificate: 12A

BATTLESHIP

And so, the race for the Summer blockbuster for 2012 has truly begun! First off of the blocks is the latest in possibly the weirdest merger in recent movie memory - that of Hasbro and Universal. One famous for games, the other for films.

Now, before you judge, remember this merger gave us Transformers back in 2007 - the less said about its sequels, the better. That, along with Pirates Of The Caribbean, has proven that unlikely sources can great movies make. But a film based on a two player game of hit-and-miss strategy?.......

Director Berg, who surprised many with his deft handling of effects and laughs in Hancock, has been given the megaphone duties. Although for most of its running time, you could be forgiven that Battleship was under the camera-swooping, heroic-posturing, big-explosion delivering and dialogue-more-cheesy than a four-cheese pizza with a side of Gorgonzola eye of Michael Transformers Bay himself. There is no sign of the man who delivered the excellent Friday Night Lights or the flawed-but-insightful The Kingdom. Instead, this feels like he's been told what to do in the hope of relpicating the success of Transformers rather than be allowed to put his mark on the film. There's the beautiful girl that gets caught up in the proceedings, the nerd who helps explain the techy parts for the more muscly-but-intellectually-challenged members of the cast, and the reluctant hero that must grow through the trials to become a victor and worthy of the girl and respect.

Now none of these are the fault of Berg but it is him that brings slow-motion shots of the hero - Kitsch in full-on square chin mode - stepping up to the plate and taking charge, and the old sea-dogs walking out on deck to once again help save the day. If its not that Bay-ism then it's aerial shots that swoop past the best of the best that the Navy has to offer. If young, red-blooded Americans don't want to enlist straight after seeing this then I don't know what could.

Now, if all this sounds like its tongue-in-cheek, it would have been more preferable if it were. Instead, this is serious, flag-waving patriotism and any laughs are lost after its opening sequence of a drunk Kitsch trying to get a burrito for female love-interest Decker. At least it has the decency for one of its cast to respond to a stiff-upper-lip "lets give the world another day" line by saying "who talks like that?!?" And if you're interested, you can sit through the end credits to see the weakest attempt at an open ending for a possible sequel. Let's pray it doesn't happen.

UK release date: 11.04.12

Certificate: 12A

THE HUNGER GAMES

For every successful book-translation to the silver screen, there will always be at least more than a hand full of crash-and-burns that clutter up the multi-plexes as Hollywood et all try to replicate the cash-cow that was Harry Potter and The Lord Of The Rings. Teen literature, since the critic-confusing but tween-delighted success of The Twilight Saga, has been constantly raped in order to generate the next big thing, and, without further ado, here, its producers hope, it is....

The Hunger Games is, without doubt, a rare breed indeed. It achieves this notoriety by accomplishing two sorely sought-after feats - no prior knowledge of the source material AND a cinematic experience that stretches far beyond its 12A certificate. For those of you who like their films and pride themselves on their knowledge of them, combining the likes of Battle Royale with The Running Man and Lord Of The Flies may sound like a hopeless task but writer/director Ross has achieved just that. Not only has he accomplished this but he has done so in a way that, although on paper should invite comparisons, it leaves those others behind it's hand-held, shaky-cam, thought-provoking wake.

Whereas Battle Royale made full use of its 18 certificate, Ross gets around the lack of blood and guts to create his horror by quick cuts, confusion and Saving Private Ryan-esque cinematography. This is after all a story of children between the ages of 12 and 18 having to kill each other in order to survive but even without red splashed across the screen, the tension and anxiety are equally felt when the countdown to the Games reaches zero and the slaughter begins. Infact, even before then, there's so much tension as the heroine is taught how to play the game of celebrity and crowd-pleasing to the uber-rich, bored populace of the Capital. Its these over-indulgent excuses of civilised beings that ultimately could be the difference between life and death to Lawrence's reluctant heroine regarding sponsorship during The Games. The genre of reality TV that was so aptly dissected in The Truman Show has a new magnifying glass put upon it and it's not rosy - we as viewing spectators will have a lot to answer for somewhere down the line!

Lawrence, who knocked on the Academy, and the world's door, with Winter's Bone, takes that character and layers on more levels as a young adult having to defend her family although this time the stakes are that much higher. Her determination seeps through all that she does which perfectly balances the fake glitz and glamour that the likes of a superb Harrelson and an unrecognisable Banks as her "helpers."

And to top it all, the glimmer of a love triangle is brought into play due to the basic mechanics of survival and therefore more acceptable and believable than the Bella fiasco of Team Edward and Team Jacob - no long melancholy looks into the distance here, you could be killed if you do!

A stunning surprise of a film that will have something for any age that wisely chooses to sit down and watch it - you can go as shallow or as deep as you wish at its message and reflection on where society could, and has, gone to. The second instalment cannot come to quick!

UK release date: 23.03.12

Certificate: 12A