WRECK-IT RALPH

Computer games and its entertainment rival, the cinema, have never really got along. The more money-making games market has never had  the same success when one of its own has transferred across to the silver screen. Many still shudder at the thought of Super Mario Bros. and Street Fighter which led to the decline in the cross-over genre.

However, Disney have appeared to look into their back catalogue for inspiration and a way to avoid replicating the likes of Tomb Raider and have gone the Tron route - not a existing game but a make-believe one and going inside it!

And, for the most part, it works.

Here with Disney's latest animated offering, just like you would expect to find in a Pixar or an Aardman production, the attention to detail is off-the-charts. Any game-junkie will have a field day in spotting the many cleverly hidden in-jokes and references littered throughout Wreck-It Ralph. And, if you're an adult that grew up with arcade and console games then your nostalgia will well and truly be stoked as pretty much all the old classics get to make an appearance one way or another - Space Invaders, Frogger, Q*bert, Paperboy and Pac-Man all get their moment in the sun along with more recent fare such as Metal Gear Solid, World Of Warcraft and Portal. It even boils down to small-but-significant details such as: everything in Fit-It-Felix and Wreck-It Ralph's environment is all square and rectangular as his game is an old-and-dated 8 bit  model (check out the lamps etc) and everyone in it moves stiffly just like they did in the games of old. Even a "soldier" from the Halo-esque Hero's Duty reenacts the move that all people have done whilst playing a first person shooter - walking into a wall and unable to move away from it straight away.

Yes, attention to detail is paramount here but there does feel like a slight lack of this concentrated effort where the rest of the film is concerned. Pixar has always been able to blend humour for both the adults and their children in the audience, creating fun moments for all to enjoy and remember. Here, this balance is not necessarily evident, especially where the older folk are concerned. Yes there are moments for the adults - a clever rift of The Wizard Of Oz's castle guards ("oh we oh, Oreo") a Darth Vader breathing sound joke and Jane Lynch's wonderful "programmed with the most tragic back story ever"commando comment, but these are few and far between. Kids are, rightly or wrongly,are the ones mostly catered for with slapstick, toilet humour ("Why did the Hero flush the toilet? Because it was his Doodie!") and loud noises and bright colours.

Wreck-It Ralph is a great kids film but its not a classic family one. The people that will remember the multitude of in-jokes and 8 bit references that are littered throughout the first half of the film (mostly based around Game Central) may find their attention waning after Ralph game jumps into the likes of Hero's Duty and Sugar Rush which is where the children are then catered for with the figurative sugar rush of noise, colour and poop jokes. So, not a GAME OVER but you may think twice if the screen were to ask you to insert another coin TO CONTINUE....


UK release date: 08.02.13
Certificate: PG

FLIGHT

A long time ago, there was a director who used to deliver a mixture of fun and thoughtful films. They, although very different, all had one thing in common - they were all live action.

Then Robert Zemeckis decided to champion the art of mo-cap and from 2000 all his films were centred around this technology - The Polar Express, Beowulf, A Christmas Carol. Now, he has come "Back From The Future" to revisit his old stomping ground of powerful stories aided by visual effects.

But this is no Forrest Gump or Castaway. Not by a long shot. Just like his one time mentor / collaborator Spielberg, Zemeckis appears to have grown up and moved into the realm of mature film making.

Here we have such ingredients as sex, drugs, alcohol, lies and loss of life. Plus a whole load of faith as well. And to bring this maturity to the screen he has seeked out the help of Mr Maturity himself, Denzel Washington. The actor who helped give creditability to such fare as Tony Scott's style-over-substance efforts, gets once again the chance to show why his name is synonymous with award nominations and winning - but without his usual Al Pacino-esque shouting that accompanied him in Training Day etc.

Washington has the unenviable task of playing a hated hero. His pilot is so much more than a flawed character. The implication seems to be that it's not that he managed to safely land the plane despite being drunk and drugged up, but that those intoxication's may have actually helped him to do so - keeping him high and alert helped him to do what 10 other pilots after the crash couldn't achieve in a simulator. Those pilots killed all the passengers and crew aboard their simulated planes whereas Washington's real life crash only loses 6 out of the 102 souls on board. Redeeming qualities are hard to come by for him. Just when you think he's going on the straight and narrow, the drink calls again and any feeling of sympathy for him from the viewer that has begun to build up, is then lost. This is eloquently shown in a scene nearing the films ending involving a minibar vodka bottle where Zemeckis leaves the camera, and the audience, static and waiting to observe the outcome.

With this being pretty much a Washington one man show, the co-stars, like the plane, get to take flight for a short while but then crash out of sight. Goodman is one of the few that leaves any impression on the audience and that is due to his larger-than-life drug supplier character who, with his two appearances, does a swift "pick me up" to both Washington's frazzled pilot and the viewers as well during the films running time. Cheadle as the lawyer who defends Washington somewhat begrudgingly - an alcoholic that never-the-less pulls off a miracle by saving almost all of the passengers and crew - feels like he had a much meatier role but maybe due to time constraints has found some of it lying on the cutting room floor.

Overall, a welcome return to non-mo cap from Zemeckis, Flight is a decent flawed hero film that does leave you guessing whether its central character will ever do the right thing, right up the official hearing finale.

UK release date: 01.02.13
Certificate: 15

ZERO DARK THIRTY

Think back to a time, not that long ago, when females were mainly allowed only in front of the camera, and not behind it. That began to change when Kathryn Bigelow started to deliver the likes of Point Break and Near Dark. Then, not only did she fully prove that a woman could direct, but that they could also encroach on territories normally associated only with men - action-based films - and that they could also win awards whilst doing so. Her The Hurt Locker put her up against her ex - James Cameron - at the Oscars, and she won.

Now Bigelow has returned to the genre that placed her firmly on the map and once again delves into the world of modern warfare. Except this time she's bringing abit more realism with her - more fact than fiction.

Not unlike TV's Homeland, here we have a strong female character with what appears to be a lifelong obsession that dominates her every waking and sleeping hour. On the small screen, Claire Danes' agent is driven by the feeling that she could have helped avert 9/11. Here upon the silver screen, Jessica Chastain is seeking closure on 9/11 by wanting to help close the book on the worlds largest, and what feels like as the events unfold, the longest manhunt ever.

Based on reports, accounts and documentation from relevant sources, here the story is not a simple search and destroy mission full of adventure. Instead, we have years of trawling loads of leads with most of them becoming dead ends. At times Chastain's characters frustration can be felt by the audience as information about similar sounding possible terrorists is presented again and again with what feels like little or no purpose or resolution. But then, what should we expect from a depiction of a true life manhunt that took thousands of days and millions of dollars to complete? Here, it's not a" trace a mobile phone call" and send in Jack Bauer once the relevant info has been uploaded to his PDA. Sources appear and disappear, clues are proven and disproven. Leads are followed and some too late - the London bombings being one of the attacks that is, as we know, not prevented.

Here, all is presented in a very straight forward fashion, almost to the style of a documentary. Many countries are visited but as they tumble across the screen, some begin to blur into others as the seemingly fruitlessness of the investigation begins to take hold. Then, after around two hours of this, Bigelow stops with the documentary and goes all Point Break action on the audience.

With stealth helicopters, night vision POV's, gunfire and expendable Bin Laden protectors, the last 40 minutes feels like a totally different film from what has gone before. She also, whilst ramping up the action and the tension, sneaks in a brave but ingenious factor of doubt as you watch these Marines perform their duty -  is it as honourable as it should have been? Some actions are questionable but is that acceptable in the circumstances? The question is not answered but presented for you the viewer to make up your mind about it.

Great but not as powerful as The Hurt Locker, Zero Dark Thirty is a worthy addition to the ever-expanding and most welcomed cannon of Kathryn Bigelow.

UK release date: 25.01.13
Certificate: 15

LINCOLN

One of America's best known Presidents. One of America's best known directors. There is a lot to expect here from Spielberg's partial recounting of the tale of Abraham Lincoln - the man who Presided over two major life- changing events during his two terms in office.

Those being the amendment to abolish slavery and America's Civil War.

And during its 150 minute running time, there is never a moment where you think, or feel, that that level of expectation has not been met. From its "straight into it" beginning, through to its quietly sombre and reverent ending, Spielberg's Lincoln shows exactly why both its director and its subject will be long remembered.

This is a classic example of the bearded ones excellence at what he does (Spielberg) and yet, it isn't. The emotions that you know that can be manoeuvred and manipulated so easily are done so - frustration at setbacks, anger at stupidity, tears at both strength and sadness, laughter at smile-inducing dialogue - and yet the look of it feels somewhat alien to the man who so recently gave the world the likes of Warhorse and The Adventures Of Tintin. To fully appreciate the style used to bring Lincoln to the screen you would have to go back to Schindler's List where in the same year of its release,  he also did Jurassic Park. In comparison, Schindler.. was a maturer piece with camerawork, timing, exposition and gravity to match. This was a relatively new style for the Indiana Jones and E.T. kid. Here, that same feeling of noticeable unexpectedness flows through every well-crafted moment, whether it be focused on Lincoln the President or Lincoln the man. The camera stays put mostly to allow the events and words to sink in with the audience and only seems to move when it pans around Lincoln during his  prejudice-confronting, life-altering speeches. So, as the camera slowly moves, so to does the hearts and minds of those listening to it.

To help pull this off, the bearded one needs someone exceptional to play the "other bearded one" and in Daniel Day-Lewis he has just such a person. Whether you're a fan or not of Day-Lewis or his work, no one deny that here he seems to have found possibly his acting career highlight - for all intents and purpose, this is Lincoln up upon the screen. The likeness is unnaturally uncanny when compared from your memories of pictures and statues, and the mannerisms, voice and walk is just how you would imagine the great President to be. This tied in with the stirring speeches, the shrewd mind concerning his political enemies and his attempts at keeping his human emotions at bay concerning his different family members (love and frustration at his wife and her mental and physical illness, protectiveness and letting go for his eldest son who wishes to fight in The Civil War) all add up to a no-brainer for why he has been nominated for an Oscar.

Although he may carry the bulk of the film, he is not without some great support. Boasting a veritable list of recognisable stars from both small and big screen, there are a few scene-stealing individuals to marvel at alongside Day-Lewis. Spader as the secretly hired "obtainer of votes" to ensure the Presidents successful passing of The Thirteenth Amendment is as fun as he is graceless and loud - he is the only person to swear in front of Lincoln - but the real contender for your soul and affection is Lee Jones. Imagine if his Jerrard character from The Fugitive grew old and was transported back to 1865, then you'd be on the right track. Cranky, opinionated and relentless, Lee Jones both then and now, chews up and spits out all that share the screen with him with equal smile and wince-inducing dialogue ( his response to a knock at his door - "it opens!")

The only risk taken by Spielberg and co would seem to be the concentration of the time line in the film. The source novel depicted Lincoln's rise to The White House but here there is no back story nor is there any dwelling on his theatre assassination. It is all about the man and his struggle to have The Thirteenth Amendment passed before the opportunity disappears. Whilst The Civil War rages on forever in the background, that is where its kept. There is no Saving Private Ryan horror reenactment for the audience to be reminded of how bad things were - the horror here is the battle for what now seems so natural and understandable to us but back then was conceived as unimaginable and even a sin against God himself!

An emotional ride that you will feel glad that you watched, it is not one for the popcorn pundits looking for a no-brainer, switch-off experience. It holds a mirror up to the ideals and standards that were prevalent in 1865 but which however have not entirely been eradicated and shows you how strong men must behave and what they must do in order to stand up for what is right and to make changes.

Poignant. Powerful. Provoking.

UK release date: 25.01.13
Certificate: 12A

DJANGO UNCHAINED

For his fans and haters alike, Tarantino's latest has been a long time coming. 3 years have rolled by since his first serious attempt at a historical piece - Inglorious Basterds - but finally, like a lone gun slinger riding into town, his Django Unchained is tying itself up to the local cinemas hitching post.

And then letting loose in a total bloodbath accompanied by colourful language galore! Yes, this maybe be set in 1858, but this is still a film written and directed by Quentin Tarantino.

This means that you should expect sass, crass and along with the depicted violence as displayed in his Inglorious Basterds (this is a long way from the cut away techniques of the debut Reservoir Dogs), a inordinate amount of the "n" word.

However, this being Quentin's work, you also get some incredibly quotable lines - "who dat nigger on dat nag?!?" and "you have my curiosity, now you have my attention," - along with his knack for pulling out great performances and pulling out and dusting off performers that have seen better days. Those of you old enough to remember the like of Miami Vice and The Dukes Of Hazzard will delight in some small but significant roles whilst those who watched LOST and Dexter will also be treated to a few smiles. Of course though, these are only side dishes to the main 3 course meal that is served up throughout the films 165 minute running time - Foxx, DiCaprio and Waltz.

These 3 are able to deliver exactly what you would want, and expect, from people of their current reputation - performances that equally make you smile, laugh, wince and ultimately remember why they were cast. The weakest out of the 3 strangely is the films supposed lead Foxx, but this may be down to the simple fact that his is the least "showy" out of them. DiCaprio gets to be the Joe Pesci character - all smooth gears then a burst of terrifying speed and uncontrolableness from out of nowhere. Whilst Waltz is the George Clooney of the operation - all smiles, charm and charisma while the mind is working out the angles and options. Foxx has to make do with the Michael Batman Keaton role to the other two - necessary but sometimes sidelined when they are stealing the limelight... which happens often!

The two biggest surprises of Django Unchained lie in a performance and in its structure. For the first time I can recall, you actually want Samuel L. Jackson to die. And horibbly at that too! His head slave Stephen (yay!) is the biggest, and loudest, back stabber of recent cinematic memory and only just falls short of a "Boo! Hiss!" panto villain. Despite the short temper and burning desire for revenge of Django, it is infact Stephen's desire to see continuity and tradition continue to take place in Candy Land where he has a role of authority, that sees the plan hatched by Waltz's German bounty hunter head further South than they already are.

The second surprise sees Tarantino ditch his non-linear timeline approach and just tell the story in a straight forward beginning, middle and end fashion. Yes, there is a flashback or two, but gone is the cross-over, skipping stylus-on-a-scratched-record method of plotting. This change of editing and style allows you to sit back and relax a tad more, letting the characters and their interactions sink into you further instead of you facing the possible distraction of trying to place all the events in the right time line for you to understand the proceedings better.

As funny as you would hope it would be, alot of the humour (and the very bloody violence) centers around the racism and more specifically the people that practised it, that was in over-abundance back then. The sequence involving the KKK and their desire to hang both Foxx and Waltz is genuinely laugh out loud and upon reflection would easily sit more comfortably in a Farrelly Brothers movie than in a Tarantino one. For those of you who are squeamish or prone to being offended, take note - Django Unchained makes full use of its 18 certificate... when people die here, they die in a spectacularly bloody fashion!

With its Kill Bill Vol 1-esque ending (think the Crazy 88, but Old West style) this sees the disappointing likes of Death Proof left behind and a return to the form that made the video shop employee become a force to be reckoned with and watched within Hollywood. Yee Haw!

UK release date: 18.01.13
Certificate: 18