Upcoming film trailers of 2011

With the new year in sight and inspired by the discovery of the awaited Pirates of the Caribbean: On Stranger Tides trailer I found earlier today, I thought I'd provide you with some trailers of the bundle of films awaiting us in 2011, the release dates of which can be found on the right hand side of the blog.

Pirates of the Caribbean: On Stranger Tides

Jack Sparrow (Johnny Depp) has gone solo, along with Captain Barbossa (Geoffrey Rush) to go on a journey looking for the Fountain of Youth. However, this proves difficult with competition from Blackbeard (Ian McShane) and his gorgeous daughter (Penelope Cruz)




The Dilemma

What will hopefully be a fresh comedy with the likes of Vince Vaughn, Ronny discovers that his best friend's wife is having an affair.



Paul

Another comedy adventure to look out for is this, with Simon Pegg and Nick Frost travelling across the U.S., they soon bump into Paul, voiced by Seth Rogan, who needs to be returned to his mother ship.




Gnomeo and Juliet

This seems to be one adults will enjoy as well as the kids, from the director of Shrek 2, which can only mean good things. This story is very well known so I won't explain it, but with it shown through the generation of gnomes and a comical element thrown in there I think it is worth a see.




Red Riding Hood

Pay attention Twilight fans, the director of your favourite vamp films has taken on this childhood tale and given it a dark twist. Amanda Seyfried has taken on the role of Valerie, a girl in love with someone her parents don't approve of and lives in a medieval village that is haunted by a werewolf. I'll let you do the maths.




No Strings Attached

This typical romantic comedy is about a couple trying to keep their relationship purely physical, starring Ashton Kutcher, which the ladies will love.



World Invasion: Battle LA

The story is self explanatory, but the graphics look good, and I think it will be better than Skyline, sci-fi fans, keep a watchful eye.




Thor

It seems the Marvel phase will not be leaving us in 2011, as this film tells the story of the warrior Thor, who is banished from the realm of Asgard and made to live on Earth.



Transformers: The Dark of the Moon

This third Transformers film shows that The Autobots learn of a Cybertronian spacecraft hidden on the Moon, and race against the Decepticons to reach it and learn its secrets, which could turn the tide in the Transformers' final battle. How will fans react now that Megan Fox has been replaced? Michael Bay, don't let us down.




Cowboys and Aliens

This is a film in the Wild West, with Daniel Craig playing a stranger who has lost his memory. A spaceship lands in Arizona, with the intention of destroying Earth, with only cowboys standing in it's way.

My Top Ten Favourite Soundtracks

I'm a sucker for a good soundtrack, especially film ones. The instrumental pieces; whether they're in an action film, a romantic comedy, or just a plain comedy, all give me goosebumps. I thought it was about time I pinned down my favourite ten film's soundtracks and why, and you never know, they might just grow on you too.

10. The Lion King (1994)

'I'm gonna be a mighty king, so enemies beware', oh yes, my favourite Disney film of all time, although I won't argue Pocahontas (1995) and Aladdin (1992) came close. This film is one that has been with me since childhood and through my teenage years became the soundtrack that everyone knew. With wondrous songs such as Can You Feel the Love Tonight and Circle of Life you have to give Elton John some credit for producing some incredibly gripping songs that won't be forgotten by the younger generation, not to mention Hans Zimmer's genius, who will be someone I bring up a lot in this countdown. I actually remember trying to but this in a French supermarket when I was little, however my mum was not convinced. This is my favourite song from the bunch, Under the Stars:



9. Bridget Jones: The Edge of Reason (2004)

This is one for all the women out there who sat down like I did, single and lonely, with a box of tissues and some chocolate to watch the lives we wished for unravel on our TVs. This sequel to the successful Bridget Jones's Diary (2001) has numerous famous artists on the soundtrack, from The Darkness, Kylie Minogue, and Will Young, to Jamelia and Jamie Cullum. It's upbeat in all the right places, and damn right depressing in the other parts. Nevertheless, it's the ideal romantic comedy for the girls, and if you feel like singing your heart out then there's no harm in Jamelia's Stop. Being a soppy git, that is not my favourite, and instead I have chosen I Eat Dinner by Dido and Rufus Wainwright, a delightful combination that really pulls your heart strings:




8.Scott Pilgrim vs. the World (2010)

Due for release on DVD on 27th December, this film is one of my favourites this year and it had a rocking soundtrack. A few of the cover tracks on the album are from the film's band Sex Bob-omb, among which I think Garbage Truck is my favourite. There are several other artists, including Beck, Crash and the Boys, and The Rolling Stones. This retro geek-chic film definitely takes pride in its soundtrack, it's not one I listen to all the time but is more of a 'going for a drive' album for me. It's got some funny ones from the battle of the bands part of the film, in particular I'm So Sad, So Very, Very, Sad but the one I think you can rock out to is this one, We Are Sex Bob-omb:



7. Avatar (2009)

I don't think a lot of people will understand why I like this one, but if you like the soundtrack of Jamanji (1995), Titanic (1997), The Perfect Storm (2000) or The Karate Kid (2010) then you have composer James Horner to thank. All the tracks for Avatar are instrumental, some with a small chorus using the Na'vi language as a chant, and the reason I like them are the same reason I love Hans Zimmer. These songs give me goosebumps, they give the right atmosphere, and they always build up to an amazing climax. The use of strings and drums genuinely takes you head on into this adventure, right from the moment Jake enters the Avatar world, through the moments it is under destruction until the very end. Some songs are very long on the album, but the best instrumental pieces are. You can really hear some similarities to the Titanic soundtrack in some of the songs, but this soundtrack makes you feel like you are in an entirely different world. It's magical, and I love the world of fantasy. A whole seven minutes and forty seconds long, Becoming One of the People - Becoming One with Neytiri is the most breathtaking.



6. Shrek 2 (2004)

Ok, I'm getting excited now. I love ALL of the songs from this film, they're catchy, they're fast and I could sing to them all day long. From the beginning of the film, Counting Crow's made me fall Accidentally in Love while Lipps Inc. took me to Funkytown. This soundtrack is fun, there's no other way to describe it, it fits this animation perfectly and makes Shrek 2 that classic that anyone can enjoy. I also like Shrek's soundtrack, but Shrek 2 stood out to me when it took me on that chaotic journey. There are a couple of more contemplative songs, such as People Ain't No Good and I Need Some Sleep, but these are taken over by Jennifer Saunders' Holding Out for a Hero and Livin La Vida Loca by Eddie Murphy and Antonio Banderas. I adore all these songs so much, but the one that gets me every time is this, You're So True by Joseph Arthur. The lyrics are beautiful:




5. Twilight (2008)

Well, you either love it or you hate it, and sorry, but I love it. As I should only be talking about the soundtrack here I won't comment on the films, but this film has various artists which produce a mysterious atmosphere for the film, which I believe was the best way to go having read all the books. There are some more well known artists, Muse and Paramore, amongst others such as Collective Soul and Iron & Wine (great artist!) which give a sense of romance with some 'feisty' thrown in there. I enjoy Carter Burwell's Bella's Lullaby, and Robert Pattinson's Never Think as two songs which are relaxing and emotionally fulfilling. However, I also like the use of Paramore's Decode, which has some very moving lyrics. The proceeding films have not had such an effect on me, apart from Sia's My Love, a very passionate piece. So, here is my favourite, Spotlight (Twilight Mix) by Mute Math:




4. Pearl Harbor (2001)

I'm nearing the top three now, and it's getting pretty hard to actually give these soundtracks a number, because I'd put them all at number one. Pearl Harbor has been a favourite since I watched the film when I was fifteen, not only for the narrative, and the attractive men in it, but for the soundtrack too. These are all instrumental, and unless you're a fan you probably won't have noticed them in the background of the film. But this is a true tear jerker for me, the piano work is graceful, and always catches you off guard, just when you don't think you're going to get upset you probably will. There are some upbeat ones, but they mostly reflect the action going on in the film. It's tough to choose the one I prefer most as there are a couple, but the one I've had on repeat over the years is this, And Then I Kissed Him:



3. Moulin Rouge (2001)

I'm hoping this will be a favourite for most audiences, even the male ones (I know one guy that will sing it with me anyway!). It's one of the most romantic musicals you will ever see, and the soundtrack reflects that. It's sexy, intense, and almost addictive. Because We Can and Lady Marmalade will get you bopping about the place, and there is always the Elephant Love Medley or Come What May that will go down well as a karaoke duet. From the gorgeous voices of Nicole Kidman and Ewan McGregor, this film is amazing and definitely for those of you who like a good musical. I'm not ashamed to say this soundtrack is on my iPod, and as a big fan of Elton John who sang the original of my favourite, I present you with Your Song, covered by Ewan McGregor and Alessandro Safina. Watch out for the climax at 1:50 in...




2. The Lord of the Rings Trilogy (2001, 2002, 2003)

Call me a bloke, I love them. Invite me to watch all three, extended edition, and I'd happily accept the offer. From the adorable and boisterous Concerning Hobbits to mysteriousness in The White Tree and a mixture of delicateness in The Return of the King, once you have heard all the songs from the films you truly do feel like you are part of the characters. The songs convey the romance, the battles, the tensions, and the loss throughout. It gives a sense of hope and power, and amongst all the fighting it really brings out the true theme of friendship and trust. It saddens me that this trilogy had to come to an end, but I feel through the soundtrack you can relive it again and again. My dad introduced me to Enya one night on a drive home and her voice has stuck with me since, and with this, I give you the one song that I look forward to when I watch these films. Evenstar:




1. Pirates of the Caribbean: At World's End

And here we are at number one! Hopefully somewhere out there someone will agree with me that this is a fantastic soundtrack. It's playful, and I think it reflects Johnny Depp's character of Jack Sparrow perfectly. In some places it can be strange, in others just plain fascinating. Composed by in my opinion, the best, Hans Zimmer has produced a stunning soundtrack for the last part of this epic trilogy. In particular, Up Is Down is one I would definitely recommend to simply enjoy, and if you're feeling a little more serious perhaps Hoist The Colours. The one that gives me jitters is this one, One Day which gives me goosebumps at 2:38 exactly in and proves Hans Zimmer's ability to provide an outstanding build up and climax:



There you have it folks, I hope some of you agree, and if not, why not share what you think is a worthy soundtrack?

Harry Potter and the Deathly Hallows Part I

[Warning: I have revealed when the film is split at the end of Part I and mentioned some key scenes, one that is not in the book]

Hermione Granger (Emma Watson) stands behind her parents in the home she grew up in, wand poised, and whispers “Obliviate”. As she looks around, the memory charm removes her from every photo with her parents, as she emotionally and physically leaves their lives for good. Meanwhile, Ron Weasley (Rupert Grint) watches the sky with concern as his mother calls him in for dinner, and the boy who lived, Harry Potter (Daniel Radcliffe) watches the Dursley family he has lived with since he began attending Hogwarts School of Witchcraft and Wizardry leave their home in search of safety.

The sheer terror of what these three best friends must achieve now overcomes the audience in the sentimental scenes that flood this first half of the long awaited final film adaptation of J K Rowling’s popular novels. David Yates has finally appreciated the finer details within the book that were not so obvious in the previous film, Harry Potter and the Half Blood Prince (2009), which seemed to focus on the sexual tension between the main characters as it had not particularly been addressed in the five films beforehand. As the most feared and powerful wizard Lord Voldemort (Ralph Fiennes) grows stronger (yet fails to make much of an appearance in this part of the film) Hermione, Harry and Ron must leave their loved ones in search of the seven Horcruxes that contain Voldemort’s soul. Two have already been destroyed; one in Harry Potter and the Chamber of Secrets (2002), the other in the Half Blood Prince, and this film focuses on one Horcrux, a locket, which results in angry behaviour from whoever wears it for too long. Rupert Grint’s performance is emphasised here, as he wears the locket the most and becomes insanely jealous of Hermione and Harry, as his make-up shows dark circles under his eyes with pale skin he almost appears evil, and we begin to see the divide in their companionship.

The original source material is obvious throughout the film through detailed conversations and explanations, despite scenes where the trio are at a loss of what to do next, it is apparent that since Harry Potter and the Philosopher’s Stone (2001) the three main actors have come far in terms of ability to give a genuinely sentimental and distraught performance. Yates has incorporated a much darker side of the narrative; for every emotional scene a tense build up followed, with a couple of jumpy moments that probably even startled the parents in the audience. A few scenes are quite graphic in terms of violence and nudity; particularly the scene as the locket is opened, and a dark, mysterious ghost-like figure talks down to Ron about him being nothing compared to Harry. Two naked figures proceed to appear; Harry and Hermione, who passionately kiss and are lost in each other’s arms. This scene was a good adaptation from the book, but nevertheless still a bit embarrassing for the audiences who have grown up with the actors, and it appears that Yates has taken some risks with this film that he had not considered before. The soundtrack is striking and sent a shiver up my spine, as with every close up of a solitary character, and even the argument between Harry and Ron, the pianos and violins heighten the atmosphere with pauses of silence before delivering a breath-taking climax which truly does convey that this is the end of such an epic adventure.

Helena Bonham Carter gave a familiar chilling performance as Bellatrix Lestrange, and showed her true colours as an actress in the scene where she tortures Hermione, with her usual wild hair and wide eyes conveying her yearning for revenge and the death of Harry Potter. The film does not involve the other lead characters as much as you would like, but this is of course down to the book, and if you have read it then you will be enthusiastically waiting on edge for Part II in July next year. The introduction of Bill Weasley (Domhnall Gleeson) and Mundungus Fletcher (Andy Linden) has definitely been delayed and some audiences may agree that it is a shame they had not been introduced earlier in the films they should have appeared in, as it feels a little rushed to fit everything in. Despite this, the cast deliver as they should and give their all, and with such a long running time the audience really do become intimate with them. The forest locations are fantastic; the film is mainly shot in winter, reflecting the cold and sombre moods the three friends must fight through to gain strength. The first part is not all gloom, Ron has several comical moments amongst his violent outbursts, and a few crude moments allow some amusements, (“Blackthorn, ten inch, nothing special but I thought you might like it if it’s going unused”), which are thankfully not as forced as much as they were in the Half Blood Prince.

The most intriguing element of the film is its divide. There is no doubt that a lot of money will be made at the box office from splitting the film, along with all the merchandise and deals available at the cinema, however, considering that in total the film will be longer than James Cameron’s Avatar (2009), the attention to detail from scriptwriter Steve Kloves will surely be appreciated by the audience, as he has concentrated on the most important elements of J K Rowling’s exciting novel. Kloves takes the plot one step at a time; engaging the audience with the minor stories in the book, such as the story of The Tales of Beedle the Bard (written by J K Rowling also), which introduces the concept of the Deathly Hallows into the film through an abstract animation with silhouetted figures whom represent Death and the three Peverell Brothers. These three brothers each acquire an element of the Deathly Hallows, which Harry Potter must now find in the wizard world. This beautiful story broke up the chaos and was a reminder that the film is mainly targeted at a younger generation, and because there was a lot of information to take in, this carefully constructed animation gave an easier understanding for everyone, especially those who may not be familiar with the original text.

The ending scenes of Part I were appropriately chosen; they were touching, and we said goodbye to one of the most admired characters from Harry Potter and the Chamber of Secrets (2002). The voice of Dobby, done by Toby Jones, softly speaks “Such a beautiful place to be with friends” as he lies in Harry’s arms preparing to die. This is done so realistically through CGI, his eyes capturing the sadness as Alexandre Desplat really does tug at our hearts with his musical genius, giving us an harmonious farewell as Harry buries Dobby with his own hands. The visual effects of Part I are aesthetically pleasing, however a little manic, and in some action scenes the shots are lost in each other which is disappointing. Hopefully this won’t be the case in Part II, which audiences can expect to be fast paced and even more emotionally challenging.

Due Date

Todd Phillips’ shoulders must surely be weighted from the expectations of eager audiences since his successful comedy The Hangover (2009) that witnessed the road trip of three friends and their groom-to-be buddy.

Phillips has once again used the road trip narrative with the inevitable deadline from Atlanta to Los Angeles; a whole one hundred minutes of non-stop action between effeminate Ethan (Zach Galifianakis) and pessimistic Peter (Robert Downey Jr.), who have been taken off the fly list and must find a way to get to Peter’s wife Sarah (the beautiful Michelle Monaghan) who is due to give birth. This fantastic cast have been paired with an undemanding narrative, however, Galifianakis has once again become the star of the screen and taken up characteristics similar to that of Alan from The Hangover; careful attention to detail on his appearance, the “camp” walk, and childish motives that suggest that he still needs looking after.

Due Date isn’t all comedy; there are a handful of serious moments that catch the audience off-guard, as this collision of opposite personalities attempt to bond on their journey. Ethan’s carefree approach to their relationship soon brings out Robert Downey Jr.’s signature sarcasm that we witnessed in Tony Stark throughout Iron Man (2009) and its sequel, revealing the most amusing moments in the film, as creepy and childish versus explosions of anger and gradual lack of trust. These emotional moments could arguably be completely out of place when compared to Phillips’ usual style of humorous moments delivered repeatedly with a lack of affectionate instants.

The two characters attempt to connect on their mutual experiences, the lack of a father figure and father and son issues. Throughout the film we learn of Ethan’s heartache as he carries his father’s ashes around in a coffee can with the intention of spreading the ashes at the Grand Canyon, and in one sentimental scene Peter confesses the morning his father walked out on the family, to which Ethan laughs hysterically and replies, “That’s so funny! My dad would never do that. He’d love me”. The audience’s connection with either character could potentially be quite strenuous, as they prove to be so different, making it hard to relate to either man’s situation. The deadline theme coincides with the pressure Ethan feels to spread his father’s ashes to release an old life and the desperation Peter feels to get home for the birth of new life.

A few years ago Zach Galifianakis was not a well-known actor, and after watching Due Date it is curious whether everyone’s thinking the same thing – can this man take on any other role? There is no doubt his ability to be a comical figure is apparent, nevertheless his charm is beginning to diminish. Robert Downey Jr. on the other hand delivers a comical performance similar to that of his African American character Kirk Lazarus from Tropic Thunder (2008); although the unpredictable moment in Due Date when Peter spits on Sonny the French bulldog and punches a child in the stomach were almost atrocious. The father issues within the film are reflected through Peter’s anger, where at one point he says to the can in reference to Ethan “You should have strangled him at birth”. Phillips seems to have gone from one extreme to another by replacing the baby Alan is so attached to in The Hangover with Sonny the bulldog; he has gone from making a baby masturbate to a bulldog masturbating and has unconsciously begun to push the boundaries of comedy. He is risking the illustration of situations that could easily offend some older audiences who may not be as appreciative of the hilarity. Despite this, Sonny the dog does bring added absurdity to the film, he could almost be a third human character, as he is very expressive of his emotions through his eyes which is genuine throughout.

The balance is found through the cinematography, a stunning visual adventure particularly at the Grand Canyon which Ethan thought was “man-made”. This point in the film provides emphasis on the theme of self-discovery; as Galifianakis brings us to an emotional peak in the film, Phillips has even made the look of Ethan’s father’s ashes in the wind appear dramatic. The scene in which their car flips and crashes is aesthetically pleasing, as Phillips has slowed the movements right down for the audience to appreciate the facial expressions of both lead characters. Phillips’ application of comedy in Due Date initiates controversy over anticipation of The Hangover 2, due in cinemas next year. Will audiences still anticipate the sequel of one of Phillips’ more successful films after Due Date, which seems to have just bridged the gap for impatient audiences?

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Despicable Me

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This is the first CGI film from Universal Pictures and Illusion Entertainment, and some members of the diverse audience, particularly parents all too familiar with the DreamWorks sequence of the boy fishing on a crescent moon, may be finding themselves a little weary of the numerous animations we’ve had thrown at our screens this year. Toy Story 3 and Shrek Forever After are two that come to mind, although arguably Despicable Me has deviated from this etiquette of talking animals and objects, and instead Chris Renaud has focused on the impact of human emotion, which compared to his work on Ice Age: Dawn of the Dinosaurs (2009), he and Coffin have enabled a stronger connection between the film and its older viewers.

The voice artistry of Gru, played by Steve Carell is imposing despite a compelling Russian accent, which at times can be a little confusing not only to the children in the audience. The physical movements of Gru, the way he emphasises his words with his hands and expresses surprise on his face is familiar to that of Carell’s character Andy Stitzer in The 40 Year Old Virgin, making his humour recognised by those who admire him. From the start the audience are acquainted with Gru’s inappropriate behaviour, as he lovingly blows up a balloon in the shape of a dog for an upset boy, and proceeds to burst it with a pin. Who would expect any less? After all, Gru has got some catching up to do to number one super villain Vector, geeky and intelligent, voiced by How I Met Your Mother’s Jason Segel. To do this Gru intends to steal the moon; a “one up” on Vector’s monstrous but successful act of taking one of the Egyptian pyramids, by adopting and using three very delightful girls, Margo (Miranda Cosgrove), Edith (Dana Gaier) and Agnes (Elsie Fisher).

This is no protagonist versus antagonist narrative, this is evil versus annoying. The character of Vector may have equipped more weaponry than Gru, but his smugness and unpredictable excitement is like that of a child, which is probably why the children found him so entertaining. His status compared to Gru is expressed through the interior of his house, his modernised pad has a shark swimming under the lounge floor and he has a button for just about everything. The film is vibrant, bursting with colour, and Gru’s house may be the dullest, most Gothic, in the neighbourhood regardless of his alligator sofa, but the three young girls bring life and emotion. In one sentimental scene Gru’s family tree is shown to us, with the addition of some very imaginative drawings of the girls, diminishing those feelings of betrayal, misery and revenge that are every villain’s cup of tea. Nevertheless, Despicable Me is not all smiley faces and rainbows, as the audience watch Gru visit what appears to be a normal bank and in fact uses eye recognition technology to enter the Bank of Evil (formerly Lehman Brothers).

This reference highlights that there is adult humour, also emphasised by Gru’s witty one liners and his small yellow minions, who also become part of the girls’ lives, such as joining in with a tea party and a sequence during the end credits as they test the boundaries of 3D cinema. Dr Nefario (Russell Brand), who doesn’t hold the sophistication and slickness of Q from the James Bond films, but has elderly enthusiasm that warms your hearts, and Gru’s mother (Julie Andrews) who takes on an ignorant approach when it comes to Gru’s work, both add moral strength to the plot. The tense relationship between mother and son is shown in a number of flashbacks, as a little long nosed Gru tells his mother he “wants to be the first person to walk on the moon”.

On the other hand, the relationship between Gru and his girls’ progresses as they visit a fun fair together. Agnes’ performance is not the only thing that stands out here – the 3D experience is definitely worth crediting. The sequence where they ride on one of the rollercoasters was spectacular, and felt as though the audience should have been on a simulator alongside it, however this is only one of the memorable scenes in 3D, and I can’t help but feel we have been spoilt by Pixar and DreamWork’s animation as of late. Elsie Fisher really stands out as adorable Agnes in this scene; Fisher has had a lack of experience in the film industry, but she characterises Agnes as adventurous and loveable, a personality trait that is often admired in young children. Singing herself to sleep about unicorns, asking for “bedtime kisses” and stories, and her joy when Gru wins her a unicorn toy, exclaiming “It’s so fluffy!” are three fantastic examples of her heart-warming ability to capture the audience’s affection. It is obvious as soon as the girls enter Gru’s life that they are melting his cold heart, and it won’t be long before they melt yours too in this family comedy.

The World Cinema Awards 2010

World Cinema. A module that has popped up in my second year of university, and without a doubt is highly engaging. It has expanded my view on cinema, as I have watched a variety of films from Hong Kong to France, Spain and India. World Cinema has allowed us as an audience to gain an international perspective, and a lot more films have become available to us through DVD and mass distribution. It has often been found that American and European cinema is more familiar to us, and as Dudley Andrew has suggested in his article An Atlas of World Cinema (2004), we have become accustomed to the Euro-American narrative and ideologies that we don't tend to travel or become aware of other cultures and their films.

Presented by Jonathan Ross, with some shockingly bold facial hair and who I personally have missed since the Friday Night with Jonathan Ross days, the programme is hosted from the BFI and shows a number of films contending for the film of the year award. There is also a World Cinema Achievement Award given to a worthy director. I am going to be having a look through the nominated films on the show, and discussing the show itself.


I am Love

Scottish actress Tilda Swinton (The White Witch from Narnia) takes on the leading role as Emma Recchi, a mother of three and part of a wealthy family who are going through changing times. The themes of the film focus around passion and desire as you can see in the poster, Swinton's stunning red dress parts her from the rest of the cast and reflects her dangerous nature. As director Luca Guadagnino says in the show, "the idea of the film came from the idea of a lonely woman in a beautiful house". The film reflects the complexity of affairs, and revolves around the themes of hands and food, the delicateness of making food and the love of it. Ross describes it as intoxicating, and with such an exhilarating soundtrack to heighten the tense and romantic mood, I am Love seems to be a charming and sophisticated romantic drama.


Let The Right One In

From director Tomas Alfredson comes the Swedish original of Let Me In (2010) about a young boy who finds friendship in a strange girl named Eli who turns out to be a vampire. The film is unlike some of the vampire films we have had recently has such as The Twilight Saga, because it follows typical vampire traditions, such as inviting a vampire into your home. This act also relates to another theme in the film of letting someone into your life, and the companionship that grows. Young Oskar dreams of hurting his tormentors, and in one scene during the show, he is seen stabbing a tree to release his anger and illustrates his solitary lifestyle. Oskar is soon faced with a choice as he discovers Eli's killing nature, and the film is truly a love story focusing on the two main characters. Alfredson has described the character of Eli as the 'dark side' of Oskar as he overcomes his fears and gains strength over the bullies.

Waltz With Bashir

Israeli film director Ari Folman uses this almost comic animated style film to interview veterans of the 1982 invasion of Lebanon to reconstruct his memories of the time he served in that conflict. There are images of massacre and the story indicates the suppressed memories of the violence at the time. Folman argues in person that the massacre could have been prevented if the government and generals had not hesitated in acting to stop it. Ross says that the images in the film caused an uproar due to the refrences related to the Holocaust, and that the animation gives the film it's uniqueness. The interviews were either first hand accounts, or given to actors to read. It is the first animated documentary, and I personally love the visual style Folman has incorporated as it makes it more appealing to a wider audience.



The White Ribbon

"When you were little, your mother sometimes tied a ribbon in your hair or around your arm. Its white colour was to remind you of innocence and purity."
A series of accidents and disturbing attacks begin to arise in a small village in the North of Germany in the years before World War I. It is believed that the children are possibly responsible for the mysteries going on in the village, and through the character of Anni we get closer to the children of the film and become surrounded by the motifs of morality and death. The film is narrated by the local school teacher who reflects on those times, and director Michael Haneke says that he wants to "question that claim of truth" which is the reason for using commentary. Similar to Waltz With Bashir, this is a film about someone's memory and how things may have been. Haneke did not want this to be a film about Germany, and says that a British audience can relate it to England, and so on.


A Prophet

Jacques Audiard's A Prophet is a film about finding your identity and making your story. Malik El Djebena is sent to a French prison where everyone is divided into groups, but he stands alone, making him vulnerable to everyone in the prison. The Corsicans are the most influential group in the prison, and Malik soon becomes accustomed to their vulgar and brutal orders. When Malik leaves prison, he is faced with the guilt and company of his murdered victims, despite this he carries on serving the mafia and carrying out orders. The film providea a unique emotional experience of a nobody becoming someone, and the tense environment often found in prisons.

The World Cinema Achievement Award was given to Bernardo Bertolucci who began writing poems when he was younger to be like his father, but at the age of sixteen decided that he liked movies. Writer of The Conformist (1970) and Last Tango In Paris (1972), after which he felt like he could write any kind of film, he then wrote 1900 (1976), The Last Emperor (1987), The Sheltering Sky (1990) and The Dreamers (2003).

I won't tell you the winner of the Film of the Year award, you can find out for yourself here http://www.bbc.co.uk/iplayer/episode/b00v9g9b/BBC_Four_World_Cinema_Award_2010/ and I hope you find the films mentioned interesting if you get the chance to watch them!

The Town

You can take the man out of Boston, but you can’t take Boston out of the man. Doug MacRay (Ben Affleck) is looking to escape the ideologies that surround him in the bank robbery capital of America, Charlestown. This is no doubt a narrative we have seen repeated in crime dramas many times; the criminal with a forbidden love, existing in a community that lives and breathes for violence and the ways their fathers taught them. Based on the novel Prince of Thieves by Chuck Hogan, The Town features all the elements of a decent criminal mind – the driver, Albert ‘Gloansy’ Magloan (Slaine), the psychotic weapons handler and best friend, James ‘Jem’ Coughlin (Jeremy Renner), the architect, Doug MacRay (Affleck) and the man who calls the shots, florist Fergus ‘Fergie’ Colm (Pete Postlethwaite).

As the film begins the audience are a witness to a key bank robbery, involving quick pans and close up shots of hostages; it is so fast paced there isn’t a moment to blink. Affleck’s attention to detail is impressive; the bleaching of everything they’ve touched, putting the hostages’ phones in water, blowing up the last vehicle they use. The transition from the CCTV footage observing them in silence back to screams blaring and the intense action is startling, but in an effective way that draws the audience closer to the situation. Affleck’s focus on hostage bank manager Claire Keesey (Rebecca Hall) is the mere start of the intimate shots he shares with her, in and out of the adventurous masks, as MacRay eventually states he wants to “put this whole fuckin’ town in my rear view”.

Affleck’s character is very likeable, as shown by his Pearl Harbour (2001) days where he shows his ability to be romantic, however this could be seen as an influence on his new, harder character. As Claire is forced to open the safe of her bank, she struggles and shakes and loses concentration, initiating MacRay to step out of his intimidating character and steady her hand and as he instructs “Take your time”. Hall reflects an oblivious and sympathetic victim which makes the film more sentimental, she is nothing but vulnerable, but as convention should go, she soon toughens up. The emotional scenes incorporated into the film occasionally feel drawn-out and a little feigned, and you’ll be lucky if you can actually hear them as dialogue was sometimes impossible to understand due to some unconvincing Boston accents.

The chases are electrifying and intense, as the audience are drawn through narrow roads Affleck captures the getaway from numerous high and low angles, the shaky camera technique almost reflecting the problems constantly going around MacRay’s head and the emotional walls that are restraining him in Boston. Slow motion action produces more satisfying explosions throughout, but the black and white flashbacks that Affleck has roughly placed within the film make the narrative appear tacky. The beautiful scenery of Boston captured in bird’s eye view is used frequently to fill in gaps between narratives, making the audience wonder whether Affleck has really excelled from Gone Baby Gone (2007). He hasn’t got it all wrong though, Ben Affleck still knows how to make an audience laugh in strained moments, and in one favourable scene we watch our criminal friends exit their vehicle straight in front of a police car and a policeman who stares in bewilderment, in this moment of dark humour.

The focus on ‘one last job’ is found in a variety of films; it’s the finale, the climax, the decider of how the story closes, it influenced the fate of Dom Cobb (Leonardo DiCaprio) in Inception (2010). The last and third job of The Town is located in Fenway Park, and by this point we are starting to suspect the pressure on FBI agent Adam Frawley (Mad Men’s Jon Hamm) as the atmosphere escalates and he pursues the men himself with a shotgun. Hamm seizes the opportunity to illustrate a protagonist similar to his Mad Men character Don Draper, and keeps the determination of his team pushing through against the tenderness of the film.

The Town is a mature crime thriller and very conventional with its themes, similar to Ben Affleck’s first directorial hit Gone Baby Gone, again set in Boston. It is primarily about a destructive community of broken men reflecting upon their past. We are staring into the lives of families who have bonded through their weapons and loyalties. Affleck as director allows his cast to shine; Jeremy Renner’s reckless and cocky character from The Hurt Locker (2008) exceeds expectations once again as fierce and stubborn best friend Jem. He has an ability to manipulate MacRay in a way that the audience actually encourages the bad guy to get away from Boston. Gossip Girl’s Blake Lively echoes Helene McCready (Amy Ryan) from Gone Baby Gone as a single mother and Jem’s brother who turns to drugs and is involved with MacRay “all her life”. The audience are the only ones who know MacRay’s secrets, and as we are lead to a powerful moment of discovery between the characters, MacRay draws closer to grasping a better life for himself, in front and behind the camera.

Tamara Drewe

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[Warning: this review contains spoilers regarding the plot and fate of characters]

Playwright Moira Buffini has adapted Posy Simmond’s graphic novel in a contemplative way, so that the audience can consider just how dependent society is on celebrity culture and its ability to ruin relationships. With the conventions of a soap opera such as Eastenders and the over-friendly but tense soundtrack from something like Midsummer Murders, Tamara Drewe’s sleepy hometown of Ewedown comes alive as she makes her return as a provocative beauty with ‘unfinished business’. She appears no longer with a repulsive conk of a nose leading her reputation, but instead a new plastic one which is a leading motif within the film as we watch noses either being stuck in other people’s business, or being broken by angry farmers.

The film is slightly separated into several compact narratives, or problems, a convention often found in romantic comedies such as Valentine’s Day (2010) to establish an engaging and complex story. Gemma Arterton creates a scandal in this small town, similar to the hype she is generating in the film world as she climbs the ladder to A-List heaven. Finally grasping a femme fatale role, Arterton also has the chance to merge her work from the TV series Tess of the D’Urbervilles, an adaptation of Thomas Hardy’s book, as playing a country girl. Her contribution within Lost in Austen also indicates her ability to perform as an emotional character, however, the most admirable female in Tamara Drewe is without a doubt Beth Hardiment (Black Books’ Tamsin Greig). Part of the dialogue is communicated in voiceovers, enabling the audience to discover secrets that the remaining characters are oblivious to, although there is one character, American Glen McCreavy (Bill Camp) who observes and hears all. In one unique scene Beth Hardiment addresses the audience directly by looking into the camera, giving the impression she is treating us as a close friend.

What is so admirable about Beth Hardiment is her blind-eye approach towards her husband’s affairs, as Nicholas Hardiment (Roger Allam) uses their ‘writer’s retreat’ home as a setting for flirtatiousness with avid fans to boost his ego and relaxed crime novelist lifestyle while Beth surrounds herself in homemade delights. Her character is similar to that of Karen (Emma Thompson) in Love Actually (2003) who also ignores her husband’s deceitful actions; despite being unaware it is their ignorance that allows the men to stray in the first place. It would not be appropriate to laugh at Beth’s pain, however director Stephen Frear has made her consequences worsen in an entertaining manner; for example as she finds a picture message on her phone, proceeds to drop her mixture bowl and begins to cry, she also sobs, “I trod in the sponge mix” in a disappointing way, and the reality here dawns that we can all relate to these times of fear, anger and ‘things can’t get any worse’.

The competitive writers’ located at the retreat express the film industry as a whole, as they yearn to be published or even heard of. The small town of Ewedown thrives on celebrity culture as I mentioned, and two gossip girls in particular, Jody Long (Jessica Barden) and Casey Shaw (Charlotte Christie), never seen without a magazine, urge the narrative forward by interfering on a more personal scale, as lustful seventeen-year-old Jody attempts to convince Tamara’s love interest, rock star Ben Sergeant (Dominic Cooper) to return to Ewedown in hope to seduce him herself. This mad obsession initiates a pattern in the film, as younger girls seek love in older men, and is especially apparent when Jody chooses Ben over her only friend, influenced by her fixation with fame. Tamara shows no interest in childhood sweetheart Andy Cobb (Luke Evans) who is technically the film’s prince charming, but instead pursues the more experienced type. It was quite uncomfortable to watch intimate scenes with such an obvious age gap between the characters, much like the romance between Rose (Emily Blunt) and Victor Maynard (Bill Nighy) in Wild Target (2009). As Tamara climbs over a fence in the beginning of the film, Beth says miserably “She’s poured herself into those shorts; I hope they don’t give her thrush” as though she is fighting her ground as all men look on with open mouths, there is some obvious tension between the older women and younger, energetic women in the film.

The film as a whole is fairly sexual. Sex in the pub, the shed, and less adventurously in Tamara’s bed but perhaps not all audiences, specifically older audiences, will appreciate how feisty the film is. They may not approve of the increasingly bad language, either. Dominic Cooper’s indulgence with eyeliner makes his hard-guy drummer appearance appealing to any teenage girls in the audience; in spite of this he is much less romantic than his Mamma Mia! (2008) role. Not only does this film introduce a pressure within our culture in relation to celebrities and keeping up with the ‘goss’, it also makes a statement on appearance in reference to Tamara’s atrocious nose. As if society didn’t have enough to worry about, the more self-conscious consumers of Tamara Drewe may take this part of the narrative on borderline offensive.

On the other hand, those who are familiar with Thomas Hardy and the story of The Well Beloved, where a man is unable to commit to one woman but instead falls in love with three women of the same family in different generations, can apply this story to the themes of Tamara Drewe, as the audience are pulled through emotions of betrayal, confusion, excitement and sympathy. There are gaps left to be filled with our own thoughts; the ending is abrupt and unexplained, leaving myself a little bewildered by the disappearance of continuity. The fate of Beth is left in the air, and a death of one of the characters is the only ‘dark’ part of this comedy and left until the end which was quite anti-climactic. Having not read the original source I cannot comment on how genuine the film was to the novel side of things, but it felt slightly unnecessary to have the seasons displayed to us to depict the passing of time, if anything these were ignored. As a British comedy Tamara Drewe is endearing regardless of the urinating cows, which only illustrates and emphasises the true British countryside.

Scott Pilgrim Vs. The World****

"Because you'll be dust by Monday... because you'll be pulverized in two seconds. The cleaning lady? She cleans up... dust. She dusts."

If you're a comic fan who truly appreciates the characteristics of a comic going into a film then you will enjoy this, no doubt about it. With what appears to be Pokemon-style battle scenes and captions, along with character titles and colourful cinematography, Scott Pilgrim Vs. The World should have it's own category of awesomeness. It's retro, with a rocking soundtrack and the occasional sound effect you should all know if you were in the Super Mario World generation.

It's geek-chic appeal means that the women going to watch this film will be falling at Michael Cera's feet. Cera always pulls off the role of an indie geek boy well, but in this film he has almost matured a little, as he has move away from home and has his own band, but the way he acts around girls brings out that hesitant and clumsy character we all love. His ability to fight was amazing (even if he runs a bit funny); he isn't your typical superhero, he's just trying to win the thing he wants the most, in this case Ramona Flowers (Mary Elizabeth Winstead). You may not think you've seen her in the acting world much, but she played Lucy McClane in Die Hard 4, and I think she has some strong potential to take up more female leads in the future.

Her hard-to-get but charming personality makes her all the more appealing, and you can begin to understand why she has seven ex's. The only thing I felt that could have gone wrong in this film is the fact we as an audience know Pilgrim must defeat seven people, and then what? A happy ending? I am pleased to say it wasn't that straight forward. There are a mixture of characters, such as Scott's obsessive girlfriend Knives Chau (Ellen Wong) and his gay house mate Wallace Wells (Kieran Culkin) who are full of witty one liners. It was even easy to connect with non-enthusiast Kim (Alison Pill).

By the end of the film there is a lesson learned and underneath is just your typical story of a heartbreaking boy just trying not to hurt anyone. He could easily be your best friend, because the relationship problems he goes through is something we can all relate to. Director Edgar Wright has made this film genuinely funny, but we shouldn't expect any less from the man who also directed Shaun of the Dead (2004). I would say this film is aimed at the teenage generation more than anyone else, it's not something I can imagine my parents going to see because you really have to appreciate the comic elements they've integrated.

Salt****

Who is Evelyn Salt? Well I'm not going to tell you that silly, go and see it for yourself!

All I will tell you is that she is a very successful CIA agent who decides to run from her work when someone who is brought in accuses her of being a Russian spy. Director Phillip Noyce has done a wonderful job on what is another action packed blockbuster this summer. He is more involved in TV series' than films, but nevertheless, he has portrayed Angelina Jolie as more mysterious than ever, and the film definitely reflects that Jolie has still got it as an actress.

Angelina Jolie has performed in a variety of films since her Tomb Raider days, such as Wanted (2008) and Changeling (2008) but she still has the same sexiness about her as an action woman. The truth is, action films fit Jolie like a glove, and she's always suited the role. The trailer asks us "who is Salt?" but reluctantly, we don't find out until the very end, and even then we are left at an open ending which leaves the possibility of a sequel.

The film itself is full of twists and surprises, it will make you heart skip a beat as something that should have been quite obvious is made truly complex to the audience's eye. The amount of action never falters, there is barely a moments peace, keeping the audience tense. It even throws us into the action at the very beginning with Salt being tortured, which is what makes this film very different to Knight and Day, in that Jolie isn't afraid to get beaten about a little by the boys, whereas Diaz found her skills to fire a gun out of nowhere.

The stunts, explosions, and chases are still easy on the eyes, and brain, unlike Inception, but that doesn't make the mystery of Salt any easier. You would think it would be two hours of the CIA chasing Angelina, but it's not. She toughens up, and despite being seen as the bad girl, she's actually seeking to get revenge. She becomes the woman we all want to be, strong and independent, elegant yet dangerous.

With some familiar faces on the block, such as Liev Schreiber (X-Men Origins: Wolverine) playing Salt's boss Ted Winter, and Chiwetel Ejiofor (Inside Man) taking up another detective-type roll, this action movie can be right up anyone's street. You think you'll know what's going to happen next, but you'll most likely be wrong. I would definitely see it again.

Something different - True Blood and The Wheel Of Time

I don't usually comment on anything but the current films out there, but I thought I would share with you why I'm absolutely loving season three of True Blood.

I didn't think this TV series would ever be my cup of tea, it doesn't hold back on the amount of blood and gore, sex scenes, or torture. Surprisingly, three seasons down the line, I'm well and truly hooked. It's nothing like your Edward and Bella romance; maybe it's just as intense and sloppy, but surrounding them is an increase in murders, kidnappings, and an ever growing variety of creatures appearing in little Louisiana.

The series follows the story of Sookie Stackhouse (played none other than Anna Paquin - Rogue in X Men) who lives with her brother Jason and who works in your regular family restaurant owned by Sam Merlotte. The restaurant contains most of the main characters, what with it being a small town, but this makes it easy to keep up with all of them. Then there are the vampires, mainly Bill Compton, who Sookie falls in love with, but they're not all 'good'. You'll meet Eric Northman, and Lafayette Reynolds, who deals out vampire blood. Characters come and go, mostly the really naughty ones, and it usually takes a whole season to explain who or what one character is, making it that much more gripping. Some characters have their own powers, making the humans more likeable, however you won't find out what Sookie's is til season three!

Season three has pleasantly introduced werewolves, and about time really. It's a lot darker, gorier, and you can begin to see the split between the vampires, as some take the humans' side and others such as Russell Edgington (The vamp king of Mississippi) who want to kill off the human race. So if your a Twilight fan but would appreciate a real fight between fang and fur, then get your teeth stuck into True Blood. What's not to like, especially when all the characters are appealing to look at!


Secondly on my discussion agenda, I have recently finished book one of the Wheel of Time series, and can say I actually enjoyed it. It was recommended to me by my boyfriend, and I was a little apprehensive as it sounded too much of a lad's read. Once again, I was surprised, as it turned out to be a better version of Lord of the Rings, as The New York Times describes on the cover:

"With the Wheel of Time, Jordan has come to dominate the world Tolkien began to reveal"



With even more fantasy creatures and places than LOTR, these books are appealing to me because I'm a bit of a fantasy action geek. It's a funny cross between the LOTR films and the Zelda nintendo games. It's old school, swords and crossbows instead of guns, they wear cloaks and hold staffs, and I'm not afraid to say that I miss seeing that in cinema. The thing is with fantasy worlds is that you can go your whole life just pretending to yourself they're real, you can escape from your troublesome everyday life. Considering the Wheel of Time series is divided into twelve books, with two still to come, it's something that will keep you far more occupied than LOTR or Harry Potter. There may be some parts you don't understand, it's a bit overwhelming at first, but once you get the jist, the rest follows. If you really get stuck there's even a glossary at the end of each book!

The point I wanted to get to for anyone that actually reads these books is that there is rumour of films being made for them. I think I accidentally came across this link, but I'm pretty pleased I did! You can read it here:

http://www.geekology.co.za/blog/2010/01/first-wheel-of-time-movie-possibly-released-in-2011/

Knight and Day**

Knight and Day tells the story of how just an ordinary girl, June (Cameron Diaz) becomes tangled in Roy Miller's (Tom Cruise) mysterious life; slowly being immersed into his 'ordinary' life of guns, chases and a little but very important object called the Zephyr. While all this standard action is going on, June finds herself becoming more and more attracted to Miller, however when she finds out she was just being used, she must make the decision of turning him in or sticking with him.

As an acting duo, Cameron Diaz and Tom Cruise are effortlessly fantastic, they make an elegant eloping couple but it is the storyline that is what lets this film down. The action is non-stop, with a hint of sexual tension here and there, but the action is just your standard bullet-in-chest violence, nothing will really make you think "cor, I bet that hurt". The comedy is tongue in cheek, all the best bits were in the trailers and Cruise's patronising tone just really didn't do it for me. This almost out-law couple film never really gives away why it is called 'Knight and Day' either, despite the use of a small knight figure to hold Miller's secret.

So, I ask myself, are Diaz and Cruise just getting too old for this? Cruise's flash of flesh in the beach scenes could not hide the wrinkles that are starting to appear around Diaz's eyes. When it comes down to what the audience want, it's definitely not older generation actors trying to jump around when they clearly aren't made for the action any more. Not saying they've done their time, but there were plenty of younger actors and actresses that could have made this a sexier and must more aesthetically pleasing film. A bit of a downer on the plot was Diaz being constantly drugged because she couldn't 'cope' in the midst of the action. Alas, it felt like half the action was missing because she was passing out! The audience never saw Miller getting out of a violent situation completely, and just goes to show that Diaz never stopped being the damsel in distress since Shrek.

At times the entire film felt a bit of a joke, almost like a mockery of the whole action genre itself, the way Cruise talked sarcastically in spy terms and the unsuitable soundtrack that meant every gunshot and explosion could be predicted. For a 12A, I expected nothing less, but for Cruise's comeback I expected more. I think James Mangold could have made this film a lot darker, particularly concerning Miller's family who we barely see any of. The plot overall is so simple you won't even need to pay attention half the time. There was far too much CGI and green screen noticeable, it was disappointing because a lot of the stunts on the motorbikes were impressive.

If it was this or A-Team, I would have chosen A-Team. Knight and Day is too easy on the eyes and won't get you thinking like Inception, or even Toy Story 3! Just don't bother unless you really have to.

The A-Team***

Now I wonder what word could possibly replace the A in A-Team? Amazing? It's a bit too flattering. Adventurous? Hardly. I think the word I'm looking for is adequate. Despite the generous amount of explosions and gun fighting scenes, the film was portrayed in a way that at times became confusing, such as the planning of an attack which was illustrated at the same time. It felt like an anti-climax that we didn't receive the usual build up of plan, action and consequence, but instead skipped the action which is something I thought the A-Team would be packed with.

Don't get me wrong, from the very beginning we watch Face (Bradley Cooper) being saved by fellow team mates Hannibal (Liam Neeson) and B.A.Baracus (Quinton "Rampage" Jackson), so we are thrown right into a pit of destruction. I think it was a useful idea to introduce the characters slowly one by one, as not everyone is familiar with the 80's TV series the film was based on, and director Joe Carnahan definitely made a fine selection of actors to take up the roles. However, considering the hype made for this film including all those stupid Orange adverts before any film in the cinema, I was thoroughly confused and annoyed midway through at B.A becoming anti-violent and quoting Gandhi. If you were expecting a macho film, think again, Bradley Cooper's torso may say differently but the fact that one character loses the heart to kill anyone is quite deflating.

Some of the action was a little unrealistic, particularly the flying tank scene, which in all fairness did land in a lake but really, what are the chances? I know the A-Team have to appear perfect but surely one little hiccup wouldn't have hurt. On the other hand, the closing scenes of the dockyard domino-effect showdown was spectacular to watch, and very cleverly thought out by the big brains of the team, Liam Neeson. I thought Neeson gave a genuinely strong performance, similar to the role in Taken (2008) where he must take initiative, but completely opposite to his solitary role in Love Actually (2003), reflecting his ability as an actor to accept different emotional characters.

The additional romantic plot within the film wasn't really needed between Bradley Cooper and Jessica Biel, it just felt too awkward although I guess it makes this supposed action packed blockbuster more appealing to the feminine audience being dragged along by their other halves. On the up side, seeing as I am awarding this film three stars, and this means I neither loved or hated it, there were some worthy comical moments particularly between B.A and Murdock (Sharlto Copley). The action is drawn over several locations, and these were displayed in text so the audience did not lose their footing, something I always appreciate in action films such as The Losers. However, the editing did not always assist the action and I found myself becoming disorientated with it all a bit too often.

Unfortunately I have to say, and please don't cringe, this plan didn't quite come together. It was worth the watch, but undoubtedly not predicted the best action film this year, at least by myself anyway.

Toy Story 3(D)****

"Move over, Mr Pricklepants!"

Toy Story 3 has an unexpected dark twist, with a whole bundle of new toys that come to life and a very familiar soundtrack throughout. I'll be honest, the 3D experience did not make much difference to the effect of the film, nothing really jumped out to the point that you thought you could touch it, it just sort of emphasised how animated everything was. Would you believe it's been over ten years since Toy Story 2?

Considering the last film of most trilogies is believed to be the worst, this proved to be a worthy exception. Colourful as ever, and with a heart-tugging narrative as Andy prepares to leave home without the toys, I think even Vinnie Jones would well up. However, do not be fooled by Lotso's strawberry scent and Ken's sweet charms, like I said, this film had a dark twist and I probably should have seen it coming. It lulls you, and the toys into a sense of security.

The director has been very creative with this film, the toys are so varied and make the film fresh and new, it's almost convinced me that my toys come to life too. The toys are accidentally taken to a daycare known as Sunnyside, as opposed to the attic where Andy truly wanted to put them and they find themselves pretty much being bullied into a corner by the rest of their toy 'friends'. Not only are they being rejected by the new toys, but the strain on Woody to keep his old friends definitely increases as he has to persuade them Andy really did want them in the attic.

The audience become much more acquainted with Andy, as well as a couple of new human characters such as the very likeable little girl Bonnie and all of her toys who turn out to be a hell of a lot nicer than the daycare lot. There are moments of comedy, some that only us adults will understand and that is what I enjoy about children's films such as Toy Story and Shrek, in that it caters for all ages. A couple of my favourite moments were Buzz turning Spanish and Barbie finally meeting Ken, it's simple humour but will make you giggle a lot. The use of new locations and obstacles for such small objects to conquer makes this film different from the last two, it's a new narrative altogether and finishes with a beautiful ending with the possibility of another film to follow.

My conclusion to this is relatively similar to Shrek 4, it is worth the watch but only if you've bothered to see the previous two and have kept up with the story. It's nice and short compared to most films out at the moment, so definitely try and see it this summer.

Inception*****

"You mustn't be afraid to dream a little bigger, darling."

Inception slips into the filing cabinet of 'films that get you thinking' and if there had to be a sub category it would be 'unique' or 'moving'. Forget all the claims that it's complex and needs more than your average amount of attention, because the narrative is easy to grasp, it's the dreams within a dream that will get you fidgeting a little in your seat to keep up. I have never seen nor am aware of a film that explores this theme of dreams, I mean you have films with flashbacks occurring at the same time as the current narrative, but this is different. It echoes the importance and dangers of memories, and allows you to appreciate just how simple the structure of our world is.

The dark side of this film is once again influenced by the directing of Christopher Nolan, who made Gotham City appear a softer version of hell in The Dark Knight. There are plenty of gun fights, fist fights, and stabbings in Inception, and I certainly admire any film that has a deeper layer that it manages to hide from it's viewers throughout the release of it's trailers. You could try and predict what happens in this film, but I highly doubt you would get more than fifty percent. You may become fearful at how much information you have to take in just in the first couple of scenes, but the story is unravelled slowly, difficult terms described and you will become hooked on knowing Dom Cobb's (Leonardo DiCaprio) big secret.

The architectural genius behind the dreams is Ariadne, played by Ellen Page who has come a long way since her Juno days. Whilst everything seems so difficult to come to terms with, this character is the one you will probably look to for an explanation, and don't worry, she does enough digging in Cobb's life to give you the answers. But back to architecture, and words can't physically depict how astonishing and realistic the cinematography is. It's as though it could be possible to have the street underneath your feet as your sky at the same time. As a regular student, Ariadne becomes almost addicted to the dream worlds she creates, and without any persuasion becomes a valuable member of the team until the very end.

Other faces you may recognise are Joseph Gordon-Levitt, who starred as the main character in 500 Days of Summer, a very different role, and Tom Hardy who has starred in Bronson and RocknRolla. Marion Cotillard who plays Cobb's wife Mal may have stunning looks but has a fearsome temper behind those big eyes. As soon as you think you are watching an emotional situation, it is as though your mind has tricked you and it soon becomes violent and psychologically thrilling. The reason I felt grateful for what I have in life will hopefully effect you too by the end of the film as we are dragged through a variety of emotions but swiftly brought back down to rest our feet upon the ground.

The fighting, explosions and slow motion were all elements I adored because they felt so unique and frustrating. Never have I been in such suspense watching a van fall from a bridge into a river which took about half an hour in real time. The visual technique of this film is more impressive than the 3D experience itself. If it was possible to see this in 3D I would have sat there with a dropped jaw for two hours, but honestly the CGI is remarkable and so finely detailed.

It was worth the hype, and if you're worried it's too complicated, don't be. When I said I wasn't eager to see it again, I was lying. When's the next showing?!

The Twilight Saga: Eclipse***

"Bella, would you please stop trying to take your clothes off?"

Don't you hate it when films never live up to the books? I do. Despite the fact I read through the Twilight saga in two weeks after receiving Stephenie Meyer's wondrous but overly advertised work, I still found Eclipse to be the worst film yet. I think this is because I wanted more, this film did not live up to my expectations, I could see the changes, it was like Harry Potter and the Half Blood Prince all over again, too much emphasis on the sexual tension.

If anything, I should not be complaining about the way this was portrayed in Eclipse, as it matches the book perfectly as Jacob strives so desperately to win Bella over. However, what I didn't like about this film is the way the competition between Edward and Jacob as two appealing men in the real world has been dragged in the film. It stunned me when Taylor Lautner turned to Robert Pattinson and stated "I am hotter than you". It triggered a few giggles from the audience, but personally all my face could express was "Oh no, he just didn't..."

This third chapter has not lost the longing stares, but it has ditched the hesitation and frustration between Bella and Edward, although this is not necessarily for the best, as it made me feel almost embarrassed to be watching such an intimate scene with the camera practically touching their noses. One thing I will agree on with director David Slade is that you can sense that these actors are genuinely showing their love for each other, probably because of their relationship in real life. As he said in Look magazine last week, let's hope they stay together, otherwise we'll probably end up back in that science lab with awkward glances. There are plenty of serious conversations, and at times it can feel a bit elongated, other times you may feel like you want to give Bella a good kick, depending what 'team' you're on of course.

The detail from the books on particular vampire's pasts was pleasing; reflected in flashbacks the stories of Jasper and Rosalie were shown superbly, and it meant that you could connect with these two characters more than before. There were also some new characters, such as Victoria's puppet Riley (Xavier Samuel) who could quite possibly give Pattinson and Lautner a bit of a challenge when it comes to screaming teenage girls. We also get to see Leah Clearwater (Julia Jones) and Embry and Quil.

For what limited action there was in the film, it was illustrated brilliantly. We are treated with more visuals of the wolves in action, even mutating from human to wolf, as well as the first scenes of vampires being destroyed. One thing is for sure, if you like your blood, gore and vampires burning in the sunlight, you will hate how the vampires die in Eclipse. Similar to the previous two Twilight films, it does feel as though we are building up to a climax, like a balloon holding all the action waiting to pop. The introduction of new vampires is possibly the only reason this film was worth the watch, and the way wolves and vampires come together to protect Bella.

I have read in August's Empire that the last instalment will be filmed in two parts and personally I don't think there is enough to keep audience's gripped to two films worth of narrative. Unlike the last Harry Potter, where there is a lot to take in, if Breaking Dawn consists of two films with Bella going through pregnancy I dread to think what merchandise they will produce next. All I can conclude is that if you've seen the previous two, you might as well watch Eclipse, and if you're a Twihard fan then I probably can't hold you back.

Shrek Forever After (3D)**

So, do you know the Muffin Man?

At long last, the Shrek journey has come to a complete end, and what an adventure it has been. From needing tic tacs for stinky breath, to falling 'Accidentally in Love' and taking on the throne, Shrek has never ceased to entertain, well, the younger generation at least.

I think one of the elements from the Shrek films that will stay with us forever is the soundtrack. Smash Mouth got us singing All Star in 2001, to Funkytown by Lipps Inc. in 2004. This last chapter of the story did not falter on it's soundtrack either, it was perfectly suited to grip every emotion, and even I shed a tear towards the end of this film. Which is more than I can say for Shrek the Third, when I was crying tears of pain. I think the point I'll be climaxing to here is the fact Shrek the Third shouldn't have existed. It was pointless, boring and a lot of people I've spoken to never bothered seeing it, yet have seen Shrek Forever After.

The narrative gained some strength back in this last film, it made sense that this terror could have happened to Far Far Away, and that Puss had become obese and Donkey a little worse for wear. The film focuses on Shrek's need to be who he used to be, a menacing ogre with a quiet life, and it just so turns out Rumpelstiltskin can give him that life back. What Shrek doesn't know is what he's risking for just this one day of what he wants, as he returns to a ruined Far Far Away where no one remembers who he is.

What I like most about these films is the fact the actors have stuck through and through to provide us with our lovestruck, frustrated, fearsome friends. However, I think what ruined this continuity of good quality with the Shrek films is the change in director. I think we can all agree Andrew Adamson did a brilliant job with Shrek and Shrek 2, but there is a obvious change when Chris Miller directed Shrek the Third despite him being quite involved in the Madagascar films.

The Shrek films have been animation at it's best; it's vibrant, with a variety of animals and well known fairytale faces, and everyone loves fairy tales. You can really connect with the characters, you want to be Donkey's sidekick, you want to kick Prince Charming out of the way, maybe some of you want to be the princess. For me the one character that made this last film worth the watch was Donkey. I think Eddie Murphy has managed to be comical from start to finish, and what adds humour to this film is Shrek and Donkey basically meeting for the first time all over again, despite it being a little heartbreaking. There are a few new characters which makes the film refreshing and not too repetitive, but don't worry, all the old ones are in there too. The only trouble with these films is that you know it will be a happy ending, making it a little less exciting for us adults, but a whirlwind adventure for the kids.

It wasn't a slow, agonising experience to watch this, but it's one of those films where you either push yourself to see it or you won't bother at all. The 3D experience wasn't really worth it, as only some of the scenes were in 3D, but I am genuinely sad to see the back of one of my favourite animated love stories. It had some good laughs, and showed me the true meaning of happiness. Shrek Forever After was worth the watch, but if you intend on doing a Shrek marathon next time your friends are round, maybe just skip the third one...