The Adventures Of Tintin: The Secret of the Unicorn (2011)

Herge's young hero with a ginger quiff gets the big screen treatment from two Hollywood heavyweights Steven Spielberg and Peter Jackson. First up to direct is Spielberg with Jackson as Producer (Jackson has just confirmed he will be directing the sequel) of the planned trilogy of films.

Uniting elements from Herge volumes The Crab with the Golden Claws, The Secret of the Unicorn and Red Rackham's Treasure, valiant Belgian reporter (with the English accent of Jamie Bell) Tintin, along with brainy dog Snowy, is on the trail of a lost family fortune. Along for the ride is new best friend Captain Haddock (Andy Serkis) who is somehow involved in the history of the lost treasure.

It was Jackson who was the big Tintin fan from a young age. Spielberg got addicted to the stories after a French reporter likened The Raiders Of The Lost Ark to an adventure that Tintin could've quite easily had. Herge himself said that if anyone could make a Tintin movie, it would be Spielberg. Whether your a fan of Motion capture or not, Spielberg is back to his best after the disappointment of Indiana Jones And The Kingdom Of The Crystal Skull. Spielberg has brought Tintin to life using the same tricks of the trade that has made him one of the best directors around. Visually dazzling from the cut-out cartoon opening sequence (very similar to Catch Me If You Can) to the breathless action, Spielberg turns a smart script (co-written by Edgar Wright, Joe Cornish and Steven Moffat) into a rollicking high-adventure film.

The performance capture is at its best here and is far from the 'Dead-Eyes' of Robert Zemeckis' Polar Express. Through Spielberg's direction, Tintin has bags of charm, warmth and the illusion of life with these characters Herge created.

Jamie Bell does well as Tintin giving him a neutral British accent and boyish charm. His face is handsome (in a blank look kind of way), with the iconic hair that is as famous as Superman's cape or Indiana's fedora. Most people know that Tintin is the straight guy, with Haddock being the funny man. Andy Serkis again proves he is the king of Motion capture. Playing Haddock, Serkis gives the movie its heart and the funnier moments in the film.

Away from Haddock the film isn't as funny. Simon Pegg and Nick Frost do well as Thompson and Thompson, providing the slapstick comedy fans of the comics will be familiar with, but unfortunately they don't always strike gold with the material given to them.


Motion Capture films these days wouldn't be complete without a chase sequence and Tintin doesn't disappoint, producing a scene that is truly spectacular and one of the best action sequences you'll see this year. That scene in particular shows Spielberg is firing on all cylinders. The pace throughout is very fast and you'll do well to keep up with it. The film wants you to join in and enjoy the adventure and you would have to be a moody chap (or lady) not to want to jump on board.

With its dizzying spectacle and fast-paced action, The Adventures Of Tintin is top notch entertainment that's enjoyable for the whole family.

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Cedar Rapids (2011)

To be honest, you couldn't imagine a less interesting subject than a film set in insurance. a film about an insurance agent at a insurance convention is pretty low on the list of exciting things to watch. But that's part of the charm of Cedar Rapids.

Insurance man Tim Lippe (Ed Helms) is ordered by his boss to head to the town of Cedar Rapids, where a crucial award is up for grabs. But his good intentions start to slip away once he meets a trio of veteran salesmen, who lure him into a world of booze, sex and cream sherry.

To start with actor Isiah Whitlock Jnr has the best moment in the film when he turns to his colleagues, smiles and delivers a spot-on impersonation of Omar from HBO series the Wire. It's so brilliant because Whitlock is famous for playing Senator Clay Davis in, yes, the Wire. That's the kind of silly gag that continues throughout the film and make this low-budget film a worthwhile watch.

Cedar Rapids is one of those summer-indie films that come out of nowhere in the same way that Sideways and Little Miss Sunshine came about. The only downside is Cedar Rapids isn't as good. The problem is not that Cedar Rapids is unfunny; its that it's not funny enough. The humour is occasionally raunchy but not all the jokes are as memorable as you first thought. The film is still very likable, with a decent story and tone and you get a sense that the actors were allowed to just get on with it and come up with there own jokes.

Most of the characters in Cedar Rapids are straight laced, shirt and tie kind of folks. I say most, because John C. Reilly is a live wire and absolutely nails it as Dan Zeigler. His hair is slicked down and he seems to be on a constant buzz. Reilly has the funniest moments in the film but also makes the character likable. Anne Heche and Sigourney Weaver also give funny performances and it's good to see all the characters bouncing off each in other in general. Ed Helms also proves that he is more then just 'that' guy for the Hangover and The Office USA.

So While Cedar Rapids isn't the funniest film you'll see this year, it's a sweet enough comedy that will keep you entertained and put a smile on your face.

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Contagion (2011)

For those of you who aren't already freaked out by the idea of a global pandemic-Steven Soderbergh's latest film should do the trick. The film is cold, almost clinical presentation of a virus that quickly spreads out of control across the World.

Contagion makes you think about how many times a day you touch your face. Like most people, it's not something you would've considered before. It's perfectly normal to touch your face, rub your eyes, stroke your chin. But, what if someone (Gwyneth Paltrow is the first to contract the virus) could pass the virus very easily just by touching something or someone? What if you touched an object that had the virus, mortally unaware, and then 48 hours be foaming at the mouth. Then, once the doctors opened you up to find out what the hell caused your death-they had absolutely no idea.

Contagion is frighteningly plausible. Soderbergh and screenwriter Scott Z. Burns go to great lengths to make it so, to show you exactly how a hybrid bat/pig virus might unfold in minutes. You'll never be so aware of how many things you handle that thousands of other people have touched after you watch this film. A doorknob, a chair, a pint glass. The mere thought is enough to make everyone get out their fresh supply of hand sanitiser, and the number of possibilities is endless. It's not science fiction - but it is the nearest Soderbergh has come to making a horror film. It certainly is up there as one of the scariest films of the year.

Each scene is laden with dread as Soderbergh's camera lingers on a recently touched door handle, a lift button or a bowl of mixed nuts. The killer is unseen, ready to violently strike at any moment. The deaths aren't spectacularly inventive like most films these days. This bad boy just wants to give you the flu - then 48 hours later, put you on your knees.

The actual plot of Contagion is a series of intersecting stories that give a human face to the spread of the virus. A husband and Step-Father (Matt Damon) whose wife may have been patient Zero; a collection of CDC employees that range from doctors (Laurence Fishburne, Jennifer Ehle and Kate Winslet), all trying to figure out how to cope. We also have a Homeland security agent (Enrico Colantoni), a military man (Bryan Cranston), a member of the World Health Organisation (Marion Cotillard) and a internet talk-show host/Blogger (Jude Law) who may be trying to help find a cure or just make loads of money.

Law is the nearest thing the movie has to a villain, with a dodgy Australian accent and really bad teeth. But in his character's campaign to have people reject the vaccination and instead try his untested methods, Soderbergh introduces a story that is similar to the MMR controversy, but this is a movie where science comes out to save the day.

Most of the intersecting stories are well-played out apart from Cotillard's. Her story should be the most dramatic, but she disappears for most of the film, leaving the audience with a slight pay-off when it comes to the ending. But, to Soderbergh's credit, he keeps things cinematic and immediate. Just try not to cough in the cinema.

This is a well-made ensemble drama that, while not a traditional horror film, is still one of the scariest films of the year.

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The Three Musketeers (2011)

To my knowledge I don't think there's been a decent film version of The Three Musketeers since the 1973 version starring Reed, Chamberlain, Finlay and York. The 93' version with the Brat Pack was rubbish and to old fashioned, while the Man In the Iron Mask focused more on the king instead of the three swashbucklers. So, with such low expectations on the films, it only helps you sit back, enjoy and not think too hard about Paul WS Anderson's version of Alexandre Dumas 1844 novel.

To start with Anderson and his team of writers decided the one thing missing from the novels were huge airships. These airships have machine guns, flamethrowers and huge cannons. Anderson also thought it wasn't enough for the Three Musketeers to be good at just sword fighting. No, no, no they also have to have a specific set of skills (one Musketeer seems to think he's Batman while another thinks he's James Bond). Milla Jovoich's Milady thinks she's in the Matrix or Resident Evil. James Corden's 'comic relief' sidekick is pointless, unfunny and does himself no favours if he wants a decent career in the movies. Elsewhere, Orlando Bloom's performance wouldn't look out of place at this years pantomime and Logan Lerman's D'Artagnan is smug, charmless and petulant. Yet, somehow, and I know I shouldn't have, but I enjoyed this film.

I can easily put this down as one of my guilty pleasures of the year. It's got over the top action, which includes a superb sword fight between D'Artagnan and Rochefort (Mads Mikkelsen) on the top of a Cathedral. The Musketeers are well cast with Matthew Macfayden, Luke Evans and Ray Stevenson enjoying an easy chemistry together. Christopher Waltz is always worth a watch and he doesn't disappoint as the villainous Richelieu. It's enough for me to welcome a sequel that is likely after the events that occurred towards the end of the film.

Look, I can understand why other film critics hated this film. It has stupid dialogue and the majority of characters are rubbish. But this is still a fun film that never gets boring and doesn't take itself too seriously. Unlike other films this year (yes you Green Lantern).

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Footloose (2011)

The Footloose remake has been in development for a few years now. Originally Zac Efron was cast as the lead but pulled out in 2009. Kenny Ortega was also set to direct before pulling out following budget constraints and creative differences. Thankfully Craig Brewer and newcomer Kenny Wormaid came on board because their version is one of the better remakes from the 1980's.

This version updates the settings and swaps a few elements around but for most parts-Brewer's remake exudes the look and style of the original: semi-awkward dance choreography, clunky dialogue and way too many clichés to go into here. But somehow it works. They've updated it for the Step-up generation but the film still maintains the small-town country feel. The film is very similar to the original, so it remains to be seen whether fans of the 1984 version will enjoy a new version or wonder what the point was.

Kenny Wormaid plays Ren McCormack, a Boston teenager who relocates to the fictional town of Bomont, Tennessee after his Mother dies of Leukaemia. Although Ren is committed to doing well in school and helping out his uncle Wes (Ray Mckinnon), he quickly come up against the law when he discovers that there are laws against loud music, dancing, and most other social activities. Ren is determined to bring dancing back to Bomont and starts to attract the attention of Reverend Moore (Dennis Quaid) and his Daughter Ariel (Julianne Hough). Ren is branded a trouble maker by the local authorities and finds himself estranged from the adult community and is forced to fight these laws with the help of his classmates.

To be honest with you I still think the dancing ban isn't the most dramatic hook for a film and, although Kenny does OK in the role of Ren- he certainly is no Kevin Bacon. The angry dance scene in the warehouse is still as silly as it was back in 1984 and Julianne Hough doesn't really spark as the rebellious Ariel (lovely though she is). But Footloose is harmless fun. There's some decent musical moments (the theme song is still guaranteed to get your feet tapping) and there's one or two decent laughs from sidekick Willard (Miles Teller) to make this a perfectly fine way to spend a couple of hours in the cinema.

Footloose sticks closely to the formula of the original and it works. There have been far to many bad remakes made in the last few years, but this is harmless fun.

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Real Steel (2011)

Let's get one thing straight, Real Steel is not Transformers 4, more a Fighter with robots. Most kids love robots. Adults enjoy a bit of boxing. So it makes sense to put them both together. This Sci-Fi/ Family story is set in a world where human boxing has been outlawed. Charlie (Hugh Jackman) is a impulsive, bad luck former heavyweight contender who has to take care of his estranged 11-year old son Max (Dakota Goyo). Max finds a down-n-out sparring robot and they both decide to fix him up and put him in the ring. Underneath the busy, noisy action beats a human heart pumping with emotion that has worked for every single boxing film going. This exciting, funny and heart-warming movie is for everyone-and with family movies doing so well at the box office this year, expect great word of mouth and high box office numbers over the next few weeks.

Despite success with big budget comedies, director Shawn Levy isn't really known to gain a lot of critical success (when you've made Pink Panther and Night of the Museum films you can understand why). So he's decided to try something a little different, adding family drama to the latest in special effects and it's paid off as this is Shawn's best film in years.

But it's not all down to Shawn. Fortunately he struck gold when he landed Hugh Jackman in the lead role. Jackman gives a charisma-driven performance as the stubborn Charlie Kenton, a man still holding on to past glories and scraping a living up and down America as he searches for quick-cash opportunities whilst trying to avoid people he owes money to. The script doesn't exactly give him a lot to work with, but it works best when Jackman and Goyo are on screen together. Goyo gives a solid, effective performance though sometimes-can be a little annoying. Plus with have the robot Atom, the sparring robot who's not all he seems to be. The moments between Max and Atom are the most heartfelt in the movie. During the quieter moments in the movie, you actually forget the Atom is an effect when the two are just simply interacting with each other.

With Charlie's Cynicism about Atom's chances at full tilt, Max proves the robot's worth and through the process begins to repair the relationship he never had with his Dad. At its core, Real Steel is just a Father-Son story about redemption-and while that's as familiar as a boxing movie about a comeback king, Levy gives the tale real cinematic weight. Unlike Transformers, the spectacular fight scenes between the robots, aren't meant to carry the film alone. Levy knows this is a human story set in the future (the year isn't mentioned in the film but Levy has stated it's set in the year 2020).

The biggest issue the director had is splitting his time between the underdog sports story and the family unit. Unfortunately Levy doesn't quite manage it. This is glaringly obvious with the scenes between Jackman and Evangeline Lilly. while the Chemistry is decent for most of the film, it doesn't really spark towards the end of the film. Also Kevin Durand's role as Ricky- is over the top. Actually the only characters who show any real emotion and purpose are Charlie and Max. Still, Real Steel is an enjoyable film with great cinematography, effects and pacing.

Real Steel is not a Rocky story with Robots, in fact it's no where near that quality. But this is solid family entertainment, even if you already know how it's going to turn out.




Online movie streaming is one the easiest ways to watch movies. If you are interested in comparing different services that are available then why not not visit Netflix UK.

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Star Wars Episode V: The Empire Strikes Back (1980)

The first thing you notice about The Empire Strikes Back is just how sophisticated everything is. From the direction of Irvin Kershner right down to the smallest props, Empire marks a giant leap in the narrative as well as the special effects. This comes as no surprise considering the huge success of A New Hope. After that, Lucas could have made a $100 million dollar film about a toilet. With a huge amount of money to use, Empire surpasses its predecessors in every way.

It's generally agreed that The Empire Strikes Back is the best film in the Star Wars saga. Not a sequel as such, but the next part of a continuing story. No longer tethered by the need to explain the Force and all the planets and aliens wrapped around it, this is a film far more sophisticated, awe-inspiring and daring. The actors too, seem much more comfortable with their characters. Which proved to be a good thing considering the script Lucas & Co wrote for them. Director Kershner enhances the mood of impending tragedy with an array of beautiful locations (Bespin, the Cloud City being the most beautiful). With John Williams' breathtaking score and most of the film clouded in darkness, Empire is indeed the darkest and most epic of the whole series.

Having survived their initial encounter with Darth Vader and the Empire, Luke Skywaker (Mark Hamill), Han Solo (Harrison Ford) and Princess Leia (Carrie Fisher) are knee deep in the Rebellion. After being chased by the Empire's forces to the ice-planet Hoth, the Rebels soon find out that the planet isn't so isolated as the Empire soon comes knocking. Leading the search is Vader himself, who seems intent on tracking down Luke Skywalker. After the battle on planet Hoth, Captain Solo and Princess Leia make their escape on the Millennium Falcon, meanwhile Luke travels to Dagobah, a swamp planet, where he meets Yoda (Frank Oz) who helps Luke become a Jedi.

While the majority of the film is set in darkness, the middle part is more light hearted: Han Solo is still wise cracking and trying it on with Leia and Yoda's knack of getting to the point in different ways is a pure delight to watch. The effects are also the best ever seen in the original trilogy with AT-ATs marching on the rebel base on Hoth, or Solo piloting the Falcon straight through an Asteroid field.

If technology surpassed the original, the addition of Leigh Brackett and Lawrence Kasdan to the writing team and Irvin Kershner as director proved to be two of the best decisions Lucas ever made. Aside from the darker theme, the action is deadly serious. you just have to look at the devastating confrontation between Skywalker and Vader. Its masterfully choreographed, their duel finishes on a small gantry protruding over the vastness of Cloud City. This scene is magnificently visualised and has the most intense moment in any of the Star Wars films. Kasdan's and Brackett's script, working off Lucas' ideas, gives maturity to Empire, something that was lacking in A New Hope. The image of farm-boy Luke is gone, replaced by a soldier who is beginning to understand the ways of the Force. Han Solo has become more mature and the bickering relationship with Leia seems to work even more when you realise Luke has been trying to get with his own sister. Overall this is some Dark stuff, way beyond the space opera with funny robots.

It's no accident that Empire Strikes Back is considered the best in the series. It's far superior to the rest of the films in every way. You could argue it's because Lucas didn't write or direct, that discussion is for another time. Empire is not only the best film in the Star Wars series, it's also one of the greatest sequels ever made.

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Star Wars Episode IV: A New Hope (1977)

It's very tricky, but try to imagine a time before Star Wars. You just can't do it can you? Well before Star Wars even made it to the big screen way back in 1977 20th Century Fox had some concerns after they conducted some market research. They decided to make Star Wars a more family-orientated film with  more focus on a human story and went to Comic-Con in San Diego as they felt the attendees to that event would be the ideal target demographic. That market research certainly paid off to great effect-everyone went to see it. Normally 20th Century Fox would make a yearly profit of $37 Million. In 1977, they made $79 Million,all because of Star Wars.

When Star Wars was first released on the Wednesday before memorial day in 1977 (in America), it arrived in theaters with great reviews and excellent word-of-mouth. It didn't take long for it to become a phenomenon, taking over Jaws in the box office-a position It held till Independence Day (1996). It was a true family film - perfect for kids and parents, a throwback to the space serials of the past and a look ahead to the future of cinema. Adults appreciated Lucas' masterful, magical movie-making. Children loved the creatures and the lightsabers. Even the merchandise proved to be a monster- Star Wars was everywhere, on bed sheets, action figures, computer games and even dodgy Christmas specials.

Back in the 1970's you could argue it was Hollywood's second golden age, but only Jaws and possibly the Exorcist could clam to be 'Blockbuster' films. However, neither can claim they're family films. Up steps George Lucas who'd just made a killing at the box office with American Graffiti,and so got permission to write his space opera in 1973. Lucas was influenced by the writings of Joseph Campbell who wrote about ancient Mythology. Lucas used that influence to create a cosmic western.

By now, the heroes-- Luke Skywalker (Mark Hamill), Han Solo (Harrison Ford), Princess Leia (Carrie Fisher), Obi-Wan Kenobi (Alec Guinness), Chewbacca (Peter Mayhew) and the villain Darth Vader (Voiced by James Earl Jones) are all household names. These characters, familiar types with enough unique personality traits to keep them interesting, have become so well-known that a mere mention of their names anywhere in the world would spark a reaction.

Star Wars' timeless appeal lies in its easily identifiable archetypes-goodies, baddies and a princess that needs a good...rescue. Mark Hamill has stated this was the most intense picture he ever worked on. Alec Guinness also stated that making Star Wars was a bad experience and consistently claimed it was his idea to have Obi-Wan killed off as soon as possible so he wouldn't have to carry on saying those stupid lines.Even Liam Neeson - 20 years later- almost retired after filming Phantom Menace (and not because of Jar Jar Binks). But we've all know for ages that Lucas doesn't make actors movies. He makes big, blockbuster movies.

Since 1977, there have been many, many science fiction films, but none have managed to compete with Star Wars. Star Wars stands alone and triumphant, regardless of how many films try to take its crown.

Star Wars remains one of the greatest films ever made. It's still re-watchable after nearly 30 years and will probably still be watchable long after our time has passed.

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Glengarry Glen Ross (1992)

Glengarry Glen Ross is possibly the worst name for a film ever imagined, but boy what a film it is. Al Pacino's real-estate salesman Ricky Roma slags his manager, John Williamson (Kevin Spacey): "You stupid fucking c**t. I'm talking to you shithead....whoever told you you could work with men"?

The sound of David Mamet- Vulgar, tinged with mirth and malice. Mamet's words lit up his 1984 play Glengarry Glenn Ross. Now Mamet and director James Foley want to get to the urgency of those verbal pyrotechnics onscreen. They don't always make it, but when they do, this brilliant black comedy stings.

Glengarry Glen Ross is a rare delight, a film that works better on the small screen. It doesn't need to be all cinematic and out in the open space of a city. The full intensity of the play can be fully recaptured in one stinking office. Mamet has refused to compromise with Hollywood about the realistic dialogue. The characters say everything twice, quite a bit of being exactly the same nonsense we talk about every day. But the cast here are simply brilliantly and make all that bullshit talking worthwhile. First off there's Jack Lemmon, one minute he can be this slimy salesman who's trying to sell real estate to people who have no intention of buying, the next giving the impression that he's about to completely lose the plot. Jack has stated that this is the best ensemble cast he ever had the pleasure of working with and I'd definitely agree as he has the support of some of the greatest actors around. We have Pacino, Spacey, Harris, Arin and Baldwin. Baldwin especially who turns up for a 10 minute cameo as a bully boy brought in from head office to rustle some feathers ("First prize is a Cadillac, Second prize is some knives, third prize is....you're fired").

Alan Arkin and Ed Harris bring wry depression to their roles as former sales champs. Johnathan Pryce gets unglued as a sucker who tries to evade a closed deal, with Kevin Spacey giving the management side the right amount of self-loathing and self-love. Pacino again is on top form, especially when he tries to encourage Levene to relive a tough sale in a woman's kitchen. Together these poor schmucks go about their soul-destroying way, gradually losing the will to live, as each attempted deal falls through. It's actually quite funny to find out the actors referred to the film as "Death to the Fucking Salesman".

Glengarry Glen Ross is a film that will remind most people exactly what it takes to make it through the day. A thoroughly enjoyable black comedy with great performances all round.

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Lion King 3D (2011)

I remember going to see The Lion King for the first time way back in 1994. I ended up going with my Mother as my friends decided it was a film for kids and that I should grow up (even though we were only 11). These were the same friends that came along to watch Aladdin and Beauty and the Beast but soon thought Disney was kiddy crap and that I should move on to more adult material. That's not to say I didn't see my fair share of 'adult' movies - I can't even remember the amount of times I watched Terminator 2 as a kid. But what I saw on that cinema screen that day wasn't kids stuff, it was the imagination given shape and form. I love animation, I love the great animation of Disney films and The Lion King is simply one of the best films Disney have ever made.

Lion King is the first of several planned 3D conversions of  Disney classics, and again reminds us why this was such a monster hit in the first place. The animation is among the studios best ever, mixing gorgeous, painterly African scenery with characters that are easily recognisably Disney and recognisably realistic. The Lion King is a perfect mixture of Adult and childlike tones. The movie's willingness to be more then one thing is a running theme throughout the film. The Lion King mixes physical and witty comedy, traditional and exotic animation and flash and substance. The lion King isn't concerned with being one type of movie, it has all the elements that make certain Disney films great.

There isn't any need to break down the main characters as most of us should know them well enough. However, there is a couple of characters that I feel need to be highlighted. Scar may be the best villain Disney have thought up. His evilness feels very natural, there's an ease about everything he does. It may also be because he is voiced by the smooth, yet cold voice of Jeremy Irons. The other two characters I need to mention are Timon and Pumbaa. They're both wonderful characters who bounce off each well and are easily the funniest in the film.

As for the 3D, well is doesn't add much to be perfectly honest with you. The hairs on the back of your neck still stand up during the opening scene and the wildebeest stampede, the music penned by Elton John already added to the atmosphere and is still as strong as ever. The Lion King was already a breathtaking spectacle without the need for an extra dimension. I really do believe the amount of people who have gone to see The Lion King would've gone whether is was 3D or not.

The Lion King is a film that is easy to love and really didn't need the 3D. But it's still a glorious and fun family film that a new generation of kids and parents need to see as soon as they can.

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Midnight in Paris (2011)

Woody Allen's latest film is a time-travelling comedy set in Paris-and it's a absolute delight. It's the first time Woody Allen has shot entirely in France and was the opening film for Cannes film festival 2011.


Owen Wilson plays a romantic named Gil who longs for Paris of old and gets what he wants each night at midnight. Gil decides to wander the streets of Paris late at night in search of some inspiration. He meets up with F. Scott Fitzgerald (Tom Hiddleston) who offers him a lift, but what Gil doesn't realise is that he's going back in time to 1920's Paris.

Allen's worldview is a fantasy for the majority of Midnight in Paris. Gil ends up caught between the affections of three stunning women in two different time lines (Rachel McAdams, Marion Collitard and Lea Seydoux), not to mention the French first lady Carla Bruni. McAdams plays Gil's fiancee Inez who is busy cosying up with Michael Sheen's pompous professor. Marion is former Picasso paramour Adriana. Finally we have Lea who plays a shop assistant who has taken a fancy to Gil.

Midnight recalls the clever intricacies of The Purple Rose of Cairo (1985) in which Jeff Daniels an ordinary film fan who finds himself interacting with characters from the screen. Here, Wilson, in one of his better performances. As a true believer and aspiring author, Gil is fascinated by his time tripping journey and yearns to go back and give Ernest Hemingway his novel manuscript. Hemingway promises to show the manuscript to his good friend, Gertrude Stein (Kathy Bates). Returning night after night at the same time every night he finds himself delving deeper and deeper into these great artists and becoming romantically involved with Adriana.

Paris is another star of the film, making you want to book the first flight over there as soon as you've finished watching. The films opening sequence of all the famous landmarks (from Moulin Rouge to the Eiffel Tower) intentionally underlines Gil's feeling of being an outsider.

It's actually quite interesting that Gil isn't concerned with the mechanics of time travel. Gil merely makes a plan to meet at the same place every night hoping to get picked up and transported back in time. It's also never explained how Gil gets back to modern times, merely just walking out whatever pub/house/club his in and somehow ending up back at his hotel with his fiancee Inez. There is also a sense of every character wanting to go back in time to what they feel is the ideal time to be living (Adriana wishes she could go back to the 1800's). There's definitely a work of wisdom from Allen, claiming nostalgia is a form of denial. Allen is telling people to live in their own time- to live in the moment, something Gil begins to realise when transported back in time for the final time.

Given his back catalogue, the desire to compare Midnight in Paris with his past glories and failures is naturally going to happen with many critics and fans. Woody once again proves his gifts to film are still intact as he's made a truly charming film, but the best way to describe this film is to watch it and enjoy it entirely without worrying about whats gone on in the past.

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Howl (2011)

Anyone under the age of 40 will find it a little hard to imagine the power of the swear word before the late 1960's. Though of course, they did pop up in British films from the 30's and 40's but they were more like 'hell' and 'damn' instead of 's***'. I think Britain took a more open look with those type of words. the same can't be said about America who pretty much banned anything that had any vulgarisms.

Fortunately, the most famed of the best poets, Allen Ginsberg, didn't care much for the laws in America. Not only did Ginsberg use the F-word, he also admitted openly to doing the F-word with other men and enjoying it. Nevertheless, Ginsberg wasn't the one arrested for writing 'Howl', it was poet Lawrence Ferlinghetti who was charged with obscenity for publishing and selling it.

Howl is played out like a Docudrama but it's very disappointing to see directors Jeffrey Friedman and Rob Epstein tell the story the way they have. James Franco (who seems to have his hands in everything at the moment, including writing poetry), I'm sure would of got on well with the real life Ginsberg and is the strongest player in the whole film. He channels Ginsberg well with a certain sympathy and charm. Unfortunately due to the fractured structure of the film, Franco is unable to develop the character enough to make the audience want to follow him.

The main problem is that every now and again Franco starts to read some of the poems from Howl and then  suddenly, the story cuts into animation. Franco will say words like 'trains' and boxcars', and then we get trains and boxcars appearing out of nowhere. Drooker's animation, by today's standards is very, very poor and totally unnecessary. It makes you wish the directors would just get on with it and tell the story.

On the upside it's a treat (if you're a poet fan) to hear Franco read out some of Ginsberg's work. Also the courtroom scenes are strong, which is not much of a surprise given the outstanding cast involved (John Hamm, David Strathairn). But those scenes are few a far between and despite a fairly moving last few scenes, Howl is to puzzling and frustrating to be truly enjoyable.

Howl is possibly worth a watch to see Franco and his best or if you're a fan or Allen Ginsberg. Everyone else should give this a miss.

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Star Wars Episode III: Revenge of the Sith (2007)

So we finally arrive at the last entry in the prequels. Phantom Menace and Attack of the Clones, were the first two pieces of evidence that Mr Lucas was more master craftsman than effortless storyteller. The power of his productions has been his ability to submerge the viewer in his fully realised galaxy. In Revenge of the Sith, the detail of his vision gave his huge planets great depth and battles an urgency unseen in the two films that came before. But ultimately, for all of Lucas' technical powers, it is the story, the space opera, that draws the audience back again and again. And make no mistake, this is the story we've all been waiting for.

The Clone wars are finally coming to an end but troubles are only just beginning for the Jedi order. The devious plan of Senator Palpatine/Sidious needs but a new apprentice for his plan to be complete. Anakin Skywalker seems the only one likely to join him.

This time around, Revenge of the Sith keeps more to the things that made the original trilogy great. Towards the end of the first scene we see the saga's single most audacious shot since the Star Destroyer in Episode IV- and it becomes clear that Lucas and the rest of his gang have raised their game considerably. ILM have really done a great job in finally nailing the SFX. There are 2,200 effects shot in Sith- more then Menace and Clones combined- and there's not a single bad shot to be seen. Also, Gavin Bouquet's production design is spot on-with the best sets and designs you'll see in any of the movies.

Revenge of the Sith is a great movie. It's as if it took Lucas 2 tries to get comfortable in the directors chair and can now actually apply a bit of style to the proceedings. Lucas himself admitted that 60% of his original outline was slated for this Episode. Which means that all the unanswered questions that made the first two prequels passable in first place are finally answered. As a sequel to the prequels, Revenge of the Sith is more then anyone could of hoped for.

We also finally get some decent acting for all the cast and not just from the CGI Yoda. Hayden Christensen and Natalie Portman seem more comfortable with Ewan McGregor finally nailing the role Of Obi-Wan. Hayden has bulked up and lowered the tone of his voice-which gives him a lot more screen presence then Clones. Support is reliable for Samuel L Jackson, Frank Oz and Christopher Lee but the best comes from Ian Mcdiarmid, since this is the film that brings Emperor Palpatine out of the shadows and into the center stage. Yeah, he's a little over the top but does his best to make the Dark side sound seductive. Unfortunately this is where the movie fails.

Anakin's conversion to the Dark side is rushed through during the boring middle act where he seems to keep bouncing from Palpatine to Mace Windu like a teenager who is unsure of what to do next. And when that big moment finally comes- when Anakin pledges is allegiance to the Dark side- it is utterly unconvincing. Thankfully the 3rd act more then makes up for it, with the twin lightsaber fights and John Williams epic score proving that Revenge of the Sith is the darkest entry in the saga.


Revenge of the Sith was never going to hit the heights of A New Hope and Empire Strikes Back,  but what film can? If you go into this film expecting to be entertained by the frantic action, lavish set pieces and the classical themes that made the original films so memorable – the light saber, the Force, Yoda, space battles, good versus evil – then you won’t be disappointed

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