DRIVE

Director Winding Refn seems to like the occasional outbreak of violence. His last two previous outputs - Valhalla Rising and Bronson - were no strangers to onscreen violence.

Nor has he been a stranger to plaudits either with his biopic that introduced the world to Tom Hardy garnering rave reviews and now his latest receiving critical acclaim that would normally be lavished upon a period drama.

This is essentially a tale of a loner who becomes embroiled in events that do not directly concern him but end up having him put his lifestyle and his life itself on the line for another. Think Jean Reno's Leon but, instead of a hitman with a gun, replace them with a stunt driver and a car and you start to get the picture.

From the outset, Drive looks, feels and sounds like a lost film from the 80's that's been discovered and brought out to show people what cool looked like back then. It feels like the younger, more dangerous brother of Risky Business with it's synth-pop soundtrack and it's dream-like, slo-mo sequences that show the city of L.A. in a love-tinted light.

Also, in it's beginning sequence, we see Gosling's character introduce himself via voice-over in dull, begrudging tones, not unlike Ford's one in the original Blade Runner. He's a man with a job to do that has rules that will be followed, or else. The first "job" witnessed by the audience may just be the first authentic display of evading the police after a robbery ever committed to screen - not so much a car chase as a methodical, calmly-executed game of cat-and-mouse using bridges and in plain view to hide from an over run police force.

Gosling may be behind the wheel and in control of the film, but many of his co-star/passengers that are along for the ride, prove their worth. Mulligan channels her recent Never Let Me Go vulnerability as the next door neighbour with child caught up in her criminal husbands life, making you want the loner to step in and step up to the challenge she inadvertently represents. Brooks and Pearlman as squabbling low-life partners create plausible menace for you to be uncertain of the drivers success in staying alive until the end and Hendricks, although still as wonderful as ever, is there then gone in a blink-and-you'll-miss-her role.

All the above makes it a good ol' thriller with not as many car chases as you would expect from the title and plot, but what you don't bargain for is the sometimes shocking violence that explodes upon the screen. From shotgun blasts to the head , through to a hammer and nail assault/threat to the forehead, Drive pulls no punches. The lift sequence involving a tender kiss suddenly goes all dark territory with a boot that crushes a skull into a bloody pulp as Mulligan, and the audience, watch dumb-foundedly.

A "ssen-it-somewhere-before" premise, shot with a nostalgic 80's feel and delivered by a cast that know how to draw you in, it's steady pace leaves you unready for the shocking act of violence that burst into your vision. You have been warned.

UK release date: 23.09.11

Certificate: 18

ROMANTIC DIALOGUE - THE BEST & WORST

Whilst re-watching the STAR WARS saga, I came across the thankfully forgotten clunky lines of romantic dialogue that Lucas had penned and whilst cringing, let my mind wander briefly to other examples where men and women try to express that allusive thing called love...

So, here are some of the more memorable lines throughout cinema's century - for all the right, and wrong, reasons. Which side do they come down for you?

Or, in the end, do you frankly give a damn?....

BEST LINES

Film: As Good As It Gets

Line giver: Jack Nicholson

If you still wonder how ol' Jack seems to keep pulling in the ladies, maybe it's because he gets to say lines like this... all previous sins seem to be forgiven, just like that.

Film: Jerry Maguire

Line giver: Rennee Zellweger

Even though the big speech is done by Tom Cruise, the killer line is quietly delivered by Rennee with such emotion and truth that it knocks it clean outta the park!

Film: Star Wars Episode V: The Empire Strikes Back

Line giver: Harrison Ford

Despite the story by George "what's romance?" Lucas, it's Ford who changed the original line to this borderline cocky response that all men would love the confidence to say.

Film: Notting Hill

Line giver: Julia Roberts

A personal fave of mine, again it's the thing that you always wish you could be on the receiving end of and Julia's smile and nervousness puts the final nail in the coffin.

Film: The Princess Bride

Line giver: Cary Elwes

3 words... just 3 words...that's all it takes and yet, they can be said too much and not enough. So, same sentiment but different phrasing! Sorted then! Clever Dread Pirate Roberts!

WORST LINES

Film: Back To The Future

Line giver: Crispin Glover

Totally unprepared for conversations with the opposite sex, Marty McFly's future dad shows how over-preparing other people's lines isn't such a great idea.

Film: Four Weddings & A Funeral

Line giver: Andie MacDowell

A line of dialogue that is so truly unique that both men AND women groan inwardly and outwardly upon hearing its utterance! Now that's special!

Film: Star Wars Episode II: Attack Of The Clones

Line giver: Natalie Portman and Hayden Christian

The one that started this whole article off for me - this is so bad because it's supposed to be the reason why the worst villain in cinema is born; out of the love lost between them! How wrong.

Film: Dirty Dancing

Line giver: Jennifer Grey

That all-important first impression can be heightened by that also equally important first line of dialogue between the two of the possible lovers... Nice try but no cigar baby.

Film: Gigli

Line giver: Jennifer Lopez

I f you have to be explained why this particular example made it to the list then, honestly, there is no saving you... at all.

Now it's your turn to tell me, as I stand before you, in the pouring rain, what should I have/not said? What should have made it onto the list, or for that matter, shouldn't have?....

TINKER, TAILOR, SOLDIER, SPY

For anyone whose parents grew up in the late 70's / early 80's, there was a TV programme that had them all talking, and with the shrieks of "sacrilege" that normally accompanies fearful remakes, will undoubtedly again.

However, their calls of outrage should swiftly, upon viewing, become claps of appreciation. There are certain things that either demand another interpretation of it or are good enough to warrant another stab at it. If the right director and the right cast unite then there should be nothing to fear apart from a begrudging appreciation of the new version.

Alfredson, who hit the world squarely in the neck with the original Let The Right One In, trades places and becomes the hunter with an adaptation rather than the hunted where his unusual twist on the tale of vampires was remade with big bucks. And to his credit, he has pulled off a sublime piece of film.

Set in the 70's where The Cold War was everything, Alfredson's team have generated a look and feel that slowly saturates into the viewer from the get-go. Colours feel muted, conversations secret and stilted, even the film stock seems grey and grainy reflecting the world upon the screen of non black-and-white ethics and loyalty from all involved in the proceedings.

From the pre-title sequence, all you need to know about how to view the rest of the film is set up straight away - trust no one. The "event" that starts the ball rolling is so steeped in paranoia, with suspicious glances, overly-sweating waiters, window shutters being closed, that it packs in its 10 minutes more tension and nail-biting than a slew of recent Hollywood thrillers all out together.

Not one actor puts a step wrong. And not unlike the Harry Potter franchise, you will spend a lot of time multi-tasking by being surprised at who you recognise upon the screen - Trigger! Waynetia! - whilst trying to decipher what appears to be clues from meaningful glances and in-the-distance meetings. As much as they are all great - particularly Strong, Firth, Hurt, Hardy - this is all Oldman's concerto and he conducts all around him with a still, unnerving quietness that makes you draw in every detail possible to keep up with his engaged mind. So much so, that when he does have one slight outburst (as in a raised voice) it's like a slap to the face.

An example of the genre that hasn't been viewed by myself in ages, this is a true "slow-burner" where, in a double-edged sword attack, it feels like not much is happening whilst yet at the same time the characters, the locations and more importantly and impressively, the time frame are constantly in motion, taking you one step forward and two steps back.

There was a second outing on TV for the large rimmed glasses wearing spy - Smiley's People - and, after watching this, we can only but hope that they all feel like giving that one a go too. We deserve another trip to the circus! Utterly engrossing cinema.

UK release date: 16.09.11

Certificate: 15

30 MINUTES OR LESS

Comedies involving the youth are all about "the first time" or alcohol/drug-related high jinx. 2009 saw a change to this trend with Zombieland - director Fleischer and actor Eisenberg's great take on the zombie genre. And now they're back again delivering a different slice of hot comedy...

From its opening Ferris Bueller's Day Off car flying-shot through to its The Italian Job-esque "did they win?" ending, 30 Minutes Or Less sets out to have fun with its simple premise and its even simpler characters. After his buttoned-down The Social Network performance, Eisenberg returns to his Adventureland and Zombieland roots with a put-upon slacker trying to cope with a curve ball that life has thrown him.

Here that curve ball is in the form of none-too-bright, wanna-be criminals McBride and Swardson. McBride makes up for the travesty that was Your Highness by being funnier in his co-staring role here than in the more leading part of that The Princess Bride rip off he helped create. This is due in part to having the excellent Swardson to bounce off of - his mentally getting into the whole "monkey mask disguise" in the background of some scenes is genuinely laugh-out-loud funny.

What makes it unusual is the complete lack of gross-out comedy or use of any "t&a" (nudity) to get laughs from the audience. Here it's dialogue and interactions that are served up to induce the desired effect from the viewer. There's knowing jokes referring to Eisenberg's lack of friends on facebook (The Social Network); saucy jokes with an offer of beer to "take away the taste of himself" after being kissed by the girl that has just performed an act on him; and the realisation that, when trying to pay for all their bank job related merchandise in a hardware store - tape, rope etc - they're only a pack of condoms away from a rape package...

It's the films little touches that keep the charm and laughs rolling along - during the bank heist, you witness the most politest bank robbery ever committed to celluloid and the little known fact that sometimes hostages are the most dangerous people in those situations! Even during a car chase, they discuss the perfect tune to be listening to whilst trying to avoid the pursuing lawmen and argue over it.

A delight, and a funny one at that, from start to finish, here's hoping that Fleischer and Eisenberg have at least another film up their sleeves to entertain us with. Bring on Zombieland 2!!!

UK release date: 16.09.11

Certificate: 15

THE TROLL HUNTER

This Is Spinal Tap! The Blair Witch Project. Cloverfield. All these have taken the form of documentary and imprinted it to a level where, regardless of whether you love them or loathe them, have influenced, or will inspire countless other film makers.

Now, that rank has a new challenger with the mix of documentary and lost footage combined to reveal to the world that our ideas of fairytales are not so fantastical after all...

After so many attempts to convince audiences about "found footage" films, The Troll Hunter's beginning scrawl will most likely be met with a weary sigh from some viewers as it explains the never-be-seen- before discovery and debates regarding its authenticity that have raged since its airing. It all feels like familiar stuff until about 25 minutes into it.

Then the unmistakable non-US humour kicks in with the off-beat slant that all you can remember about trolls is actually real. You'll be surprised at how much you know about them as the amateur film makers document the various encounters before the inevitable occurs.

What helps is that the trait of annoying "camera crew" has been largely abolished by creating a great focus for the lens and sound mike - the Troll Hunter himself. His matter-of-fact attitude and weary dry sense of humour keep your mind off the sometimes whiny students. His outfit for one troll encounter looks like a cross between Monty Python And The Holy Grail and The A-Team. That, combined with using 3 billy goat gruffs tied to a bridge to lure out a nasty troll are what gives it the edge of the other fake footage finding films - laughs over scares.

That's not to say that it's without tension. The effects are remarkable and hold up well on the big screen and the "smelling of a Christian" problem does help to draw out some shredded nerves whilst caught in a cave (but then also brings out the biggest laugh regarding instead a Muslim - "Will that be a problem?" "Don't know... we'll find out.") They even manage to show regret for the creatures that are being systematically driven to extinction by the government with its fake electricity pylons doubling up as huge electric fences and a callous slaughter involving female and children trolls.

Not what you're probably expecting and delivering exactly what is says in the title, it's another rare foreign film treat that should be seen before the Hollywood remake tramples all over its Norwegian charm and loses it a flurry of big budget CGI and Yank-isms. You may not believe in them but you'll want to by the end credits roll.

UK release date: 09.09.11

Certificate: 15