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

RED STATE

Bearing in mind the religious tones in Kevin Smith's latest, it's apt that the phrase "damned if you, damned if you don't" squarely applies to it.

Known for his "slacker" movies - Clerks, Jay & Silent Bob Strike Back, Mallrats - the response when it was believed he was moving into possible "slasher" terrority was mixed to say the least. And upon release, that response is still very mixed.

If this wasn't from him, there's no doubt that Red State wouldn't be poured over with such a fine tooth comb from fans and critics alike. We want something different but more of the same and when the different comes along, that can be confusing. Not unlike the genre meshing that this effort brings to the screen.

What starts off as a small-town teen coming-of-age flick with 3 boys arranging a "simultaneous" experience in a neighbouring area in the middle of nowhere, takes a turn for the worst and then squarely heads into the genre that the likes of Hostel and Saw have over saturated in recent years. The horror element comes into play as the over-faithful clergy try to clear the world of all that is sinful to their interpretation of the scriptures - from gay through to multiple partners.

It's here that Smith makes his boldest stand with a possibly overlong segment involving the (admittedly stunning powerhouse performance of Parks) preacher's sermon that tries to explain their rationale and actions that are graphically demonstrated upon the screen. Even TV's Dexter would squirm at their methods. Then, just when you're all geared up for a nerve-shredding continuation of which of the boys will escape and survive the bible-bashing bastions barrage, Smith throws in his cards and starts a whole new, different game.

Then the screen goes black opening up on Goodman's "screwed from the beginning" ATF agent who is given the task of investigating forcibly the compound of Parks and the sounds of gunfire within. The film then switches to an out-an-out gunfire battle that refuses to let-up. With the sound of bullets equalling those of Saving Private Ryan picking off unexpected characters left, right and center, the tension is only broken with welcome-but-dark humour as Goodman shouts down the phone to his boss as all hell breaks lose that "his word is not good enough" and that he requires a text or an email at least saying that he's been told to storm the compound so his back is covered when it all goes wrong!

The ending is so Smith - think Dogma - that it comes as a surprise as everything before it has been so unlike his previous efforts, but the sudden change of scenery, mood and tone is still none-the-less brave and interesting and I for one, applaud him for trying something different. Besides, a film that has a line such as "he's built a great wall of b*llshit around the property... Yes sir, like the one in China," cannot be all bad!

UK release date: 30.09.11

Certificate: 18

CRAZY, STUPID, LOVE

Ensemble casts have, of late, relied heavily on their star power rather than their plot or dialogue to get them by. The likes of Valentine's Day and He's Just Not That Into You left a lot to be desired regarding satisfaction.

With a back catalogue consisting only of the great-but-little-seen I Love You Philip Morris, you wouldn't be amiss at the pedigree of directors Requa and Ficarra to bring in a decent rom-com. But they have an ace up their sleeve in writer Fogelman who penned Tangled and Bolt amongst others.

Here then is a comedy that is romantic by the bucket load whilst also being a romance that has great comedy throughout. Literally, you can have the roller coaster experience that is so often quoted but rarely delivered in cinematic terms. Sadness, awkwardness, laughter, cringyness, hopefulness, elation... all get their chance to toy with your emotions.

These are deftly handled by the cast that play to their strengths. Carrell, who has tried the stuck-in-a-rut husband before in Date Night, makes a more believable appearance here with the aid of more individuals to play off against. Here he gets to bounce off of Moore who, as always, shines in her role as mid-life crisis Mom - "When I told you when I had to work late? I really to go see the new Twilight movie by myself, and it was so bad" - and Tomei, who plays his first encounter after the split that starts the events rolling - if you don't want her as either your teacher or your lover, then there's something drastically wrong with you my friend.

The delights also come from the younger cast, in particular Stone with her confidence-waning rambling speech aimed at Gosling's lothario after her rash certainty for "banging the bar guy" dissolves into fear and thinking things through in the cold light of day. Along with the wonderful Heartbreaker, this boasts the best Dirty Dancing nod ever committed to celluloid confirming to any guy worth his salt that he needs to study Swayze to succeed!

The film happily makes it's way along the tried-and-trusted course of "re-discovering yourself and what you want out of life" storyline until the final act where all the loose strands and separate sub plots are suddenly pulled together to make one of the funniest scenes in the last decade of films. All soap opera's should take note of how it should be done!

A beautiful look at love and all it's various stages - first love, unrequited love, false love, stale love, soulmate love - Crazy, Stupid, Love in the end doesn't challenge any taboos nor does it deliver any earth-shattering conclusion but what it does is make you smile, make you laugh, make you cry and make you feel... and after all, isn't that what love is supposed to do? Beautiful from start to finish.

UK release date: 23.09.11

Certificate: 15

JURASSIC PARK

It's hard to imagine, but try if you will, a time where CGI was a thing that was so new and under-developed that neither audiences or film makers could rely on it to help tell a story, let alone make it a standout experience.

1993 would change all that with the release of "King of Blockbuster" Spielberg's version of Michael Crichton's best-selling novel. In the same year, the 'Berg also released his Oscar-clearing Schindler's List - two opposite films you couldn't make even if you tried - but the dinosaurs amok movie would become then the biggest film of all time. And rightly so.

If you were never lucky enough to see it first time round, before it's High Def home release in October, the newly restored digital print roars its way into cinema screens and is a treat NOT to be missed. Even those who have been brought up on a diet of CG 'toons and two-a-penny computer-enhanced flicks will be, at minimum, entertained by a director who was (and still is) at the top of his game and a crew that delivered everything in top, memorable form. From John Williams' magical score through to the "can't tell em from the CG" animatronic dinosaurs by master Stan Winston, everything that the 'Berg brought to the screen that makes a Blockbuster with the likes of Jaws and Raiders Of The Lost Ark, is ticked here in bold, exciting marker pen!

With the same pacing as the iconic Jaws, you have an opening sequence that sets up the premise that man will not fare too well against nature - the "Jaws With Claws" label it was originally given nailed it squarely on the head. What Jurassic Park may have lacked in memorable characterisation - there's no Brody, Quint and Hooper's quotable chemistry on display - it made up for in breath-holding, heart-racing, eye-popping sequences that had never been seen before, nor rivalled since in just one movie. The rippling water shot has become a much mimicked scene along with rain-soaked attacks on the heroes ever since a select bunch of specialists were chosen to sign off on a park just the coast of Costa Rica.

18 years down the line and the effects still hold up, especially on the big screen. Films less than 5 years old can't even say that. The T-Rex attack in particular is a seamless blend of physical and computerised magic which still thrills as it crushes the two park vehicles under foot and in its jaw. Even if the familiarity leans towards you waiting for the next set piece to occur - the raptor attack; the dilophosaurus attack; the car/tree escape - it still excites and makes you by the hand pulling you through it all at break-neck speed rather than losing its grip on you and your attention.

A movie that turned a corner and one of those "classics" that, upon watching it, you can see why it was given that title. See it on the big screen before you have to wait for a 25th anniversary release. At least though when you see it, you can rest knowing that the version you're watching is the same as that was seen back in 1993 - with no alterations or fixes. Take note Mr Lucas.

Original UK release date: 16.07.93

Re-release UK date: 23.09.11

Certificate: 12A