Best films of 2012

Each time I see a film, I add it to a list of what I've seen that year. The list is ordered by merit, so the film is then placed in its appropriate place ASAP, to maintain my first impressions and give myself a realistic impression of what I felt the best films of the year were.

Usually, I post the top 10 but some of the films I really want to recommend fall in the late teens, so here's my top 20 instead. It's surprised me too.

1. Marvel's Avengers (Assemble)
2. Chronicle
3. The Raid (Redemption)
4. The Artist
5. The Woman In Black
6. The Hunt
7. Rust and Bone
8. End of Watch
9. You've Been Trumped
10. The Amazing Spider-Man
11. The Descendants
12. The Life of Pi
13. The Hunger Games
14. Headhunters
15. Friends With Kids
16. Untouchable
17. Skyfall
18. Argo
19. The Imposter
20. Hope Springs

Despite a disappointing summer, it's been a decent year. For the first time, no animated films made the list. Paranorman and Rise of the Guardians both (only just) missed the top 20.

Film Review - Gremlins

Yes, the 1985 Christmas classic comedy horror. It's back on the big screen for one day only! I saw this first time around, and it's fair to say it made a much bigger impact back then. I've seen it many many times since, of course, and never fail to enjoy it.
However, if I was to be completely honest and objective, it has dated. The special effects, audio and visual, now feel especially crude. The film also has its obvious plot-holes (as mercilessly pointed out in its spoof sequel, The New Batch) and a lot of the action feels somewhat tame by today's standards.
Did I enjoy it any less than any other time I've seen it? Hell, no, and I'll continue to happily watch it again and again.

Film Review - Life of Pi (in 3D)

Gorgeous. In terms of visuals, special effects, and use of 3D, this is up there with Avatar. Literally jaw-dropping.
However, this film doesn't just come with a "but", it comes with a "BUT". The final reel doesn't just slam the breaks on, it whips your seat from underneath you, leaving you sitting there going "what just happened?" It's a sucker-punch that will leave some furious, some moved, and others just confused. I was a bit of all three.
BUT it is, unquestionably, a masterpiece of film-making.

Film Review - The Master

Sometimes a film just speaks to you. You can’t explain it, neither to yourself, nor to others. When you describe it, you’d seen things others didn’t. Sometimes you see complexity, something recognisible, or a mystery you’re intrigued to decipher. But sometimes you sit there staring at the screen, baffled as to how anybody can find this self-indulgent wank interesting.
Welcome, then, to the world of film-maker Paul Thomas Anderson.
His films have a huge following, especially with the likes of film critics, film students and Academy members. “Magnolia”, “There Will Be Blood”, “Punch-Drunk Love”… Of these, only the latter spoke to me, and when it did, it was quite profound. “The Master”, however, is his most incaccessibly wanky yet, and never captured me for a second. Many critics have fallen over themselves for this, and yet many of the same critics have scoured desperately for a reason why. It's as though they didn’t get it, but feel they must have missed something, and seem to be convincing themselves after the fact, rather than getting carried away by the film, or- heaven forbid- admit it confused them. I beg to differ. I can tell you exactly why I loved “Punch-Drunk Love” and can go on endlessly as to why I didn’t love this.
For example, the central lead performance from Joaquin Phoenix is very much that; a performance. The way he spoke, walked, carried himself, smiled, reacted- was all very measured and considered, whether it was small or large. And not for one second did I believe I was watching an actual human being reacting to a situation. I was very much aware that I was watching an actor Act. With a capital “A”. It’s an approach that worked for Daniela Day Lewis, who picked up his second Oscar for Anderson’s “There Will Be Blood”, and I’m pretty sure it’s Joaquin’s turn. But to my tastes, that kind of acting belongs on a stage- preferably a pantomime-, but not in a movie.
That’s just the tip of the iceberg. There is a complete lack of story, interesting characters, realistic interactions or realistic relationships, as well as literally gratuitous nudity (female only, of course). Why anybody would be intrigued by the pseudo-intellectual musings of Phillip Seymour Hoffman’s character is lost on me, and never did I believe any of the characters were searching for answers anyway.
Whereas as “Punch-Drunk Love” was a film I loved, but wouldn’t necessarily recommend to anyone else, why anybody would enjoy “The Master” is a complete mystery to me, and I don't see how or why anybody would recommend it to anyone.

Film Review - Madagascar 3: Europe's Most Wanted

I wasn't a fan of the first film, but couldn't remember why. As a result, I didn't bother with the second film, but have heard enough good things about this one to give it a try. Almost immediately, I was reminded as to what I didn't like about this franchise.
It's all pretty chaotic and nonsensical and goes for cheap laughs for the sake of cheap laughs. Not that there's anything wrong with that per se, it just didn't work for me. I feel no emotional connection to these characters or their plight, but that's fine since it's evident nothing that happens is of any consequence to them, or me. You just carry on without me, I'll stick to Pixar.

Film Review - Rust and Bone

Despite the stellar reviews, director Jacques Audiard's previous film, Un Prophete, did very little for me. Oscar-winner Marion Cotillard has a definite star presence, but she has left me wanting in many of her English-speaking roles. Expectations for this film, then, were low- but I was certainly in no mood to give it an easy ride. As it happens, I was taken on a rather exhilarating ride, and this French-language film turned out to be pretty close to parfait.
Cotillard and Matthias Schoenaerts make for an interesting screen couple. Neither is especially amiable, and the nature of their friendship is somewhat unexpected. He is a stranger who comes to her aid (twice), but he is no knight in shining armour. Their relationship is refreshingly matter-of-fact, and even becomes somewhat businesslike, with the occasional (and increasingly frequent) booty call thrown in to pass the time. Naturally, this complicates matters as emotions and expectations become involved, and the couple are drawn together and pulled apart in equal measure by external forces.
The visual effects involved are massively impressive, as biped Cotillard successfully pulls off a more-than-convincing performance of a double-amputee, all the while managing to stay on the right side of the fine line between depressed and whiny. She never plays the victim, and Schoenaerts never patronises her.
I found it a fascinating watch, and will be surprised if it doesn't make my top 10 films of 2012.

Film Review - Skyfall

Not what I have come to expect from a Bond movie at all, but very good. Instead of coming out remembering the big action set-pieces (of which there are many, all impressive), I came out remembering the smaller, character moments. Bardem especially makes for a superb villain, although he is rather under-used, introduced over half-way through. Nice to see the subtle re-integration of some of the old franchise staples. However, one unfortunate plot twist has made me far less enthusiastic for the next one. Unless they can talk Sam Mendes into coming back to direct. I am prepared to wait.

Film Review - Killing Them Softly

Starts off excruciatingly slowly, but once the pieces are all in place, it gets increasingly gripping. Tarantino influences are evident, but it doesn't get quite that good. Pitt gives a brilliantly steady performance, and earns his killer of a last line. No pun intended.

Film Review - Liberal Arts

At times, self-indulgent, pseudo-psychological-intellectual, self-congratulatory wank; and at times quite compelling and philosophical. I can see how this could irritate the hell out of some people, but I was eventually won over by its charms.

Film Review - Total Recall (2012)

The 1990 Total Recall may not have aged well due to its then-cutting-edge SFX, so a remake certainly had potential. Unfortunately they've completely missed the point of the original and in their pains to make this one different, they've lost the ambiguity that made the first film so rewatchable. Plus the decision to go for non-stop action eventually becomes rather repetitive and tiresome, especially since the stakes aren't as clear. However, it looks fantastic and is sure to age far better than Arnie's version did.

Film Review - God Bless America

A great concept, at times very well executed. The script is particularly sharp. But it does waste a lot of time pondering, and the cast could have been better.

Film Review - Weekend

Laidback and charming. I was as disappointed that it had to end as its characters were.

Film Review - Ted

The plot may be rather light and somewhat predictable, but the belly laughs come think and fast. Not all of the humour is successful, and a lot of it will certainly date, but if your jaw doesn't drop at least once then you're not paying attention.

Film Review - The Bourne Legacy

Very disappointing.
Everything that happens in the film is in the trailer, but at least there it was briefer, and far more exciting. Although don't expect David Strathairn or Joan Allen to do much, as they barely get a look-in.
The story has no ending. If I'd have paid for it, I'd have felt cheated (I saw a free preview). It feels more like a set-up for a new franchise, rather than a story in its own right. It ends long before anything's really happened and, much like "Salt", I thought the third act was about to start, then the Moby song kicked in and the credits rolled.
It's not a dreadful film by any means. Renner is fine, but is yet to capture that twinkly charisma that Matt Damon has, and Rachel Weisz is surprisingly good (she's not an actress I rate particularly). But the film drags, and the action is kept to a minimum, something no previous Bourne film has done so far. There is an element of tension, but it's more to do with your expectations of what's to come than anything the film itself delivers, which is little more than McGuffin exposition and waffle, and definitely not in an interesting way.
I'm running out of things to say quicker than they ran out of things to put on-screen. I think I'll stick to the trilogy.

Film Review - Brave (in 3D)

Disappointing, but not terrible.
Firstly, this is not the film that's being advertised. This isn't some ballsy heroine finding her inner bravery to stand up against the male-dominated society. It's a selfish teenager who behaves irresponsibly, and when her choices cause things to go very wrong, she accepts no blame and has no guilt. And, frankly, doesn't learn to.
Brave has clear ambitions to be Pixar's Pocahontas, but ends up more their Brother Bear. Literally. That's a (very) bad thing.
Moments of chin-stroking philosophising and attempts at emotional weight are offset too heavily by slapstick, violence and unexpected twists that are more ill-judged than revelatory, and it's all sewn together in a manner that's very conspicuous and alienating.
And since when has there been a grizzly bear problem in Scotland? Must have been around the time koalas took over Swansea?
However, the music and animation are gorgeous, a lot of the humour works, and it comes with a rather charming, if strange short, La Luna.
But the 3D is possibly the most pointless to date. Enough already.

Film Review - The Amazing Spider-Man (in 3D)

Was a reboot of the franchise really necessary so soon? I didn't think so, but this film has proven that it certainly wasn't a bad idea after all. However, as a result comparisons will be brought, so let's address them.
I had no problems with Tobey Maguire's Spidey (until THAT scene-that-must-not-be-mentioned in #3), but here Andrew Garfield embodies both Spider-Man and Peter Parker in a way that is superior on very level, and far truer to the comics/cartoons I remember growing up with. He's more charismatic, emotional, cocky, lean, and youthful. Most importantly, the cheesy wise-cracks are back.
Ditto Emma Stone who, if anything, is a bit wasted as Gwen Stacey. Her Oscar is merely a formality at this point, so when you have someone as attention-grabbing as her in your cast, it's a shame to give her so little to do. That said, she plays a pivotal role in the final scenes, by which I do not mean "damsel in distress". She makes Kirsten Dunst's MJ look like a cardboard cut-out by comparison.
One of the big issues I have with the first Spider-Man is the villain. Whilst the origin story is done well, as soon as the Green Goblin comes out to play I lose interest. Here, The Lizard feels more of a threat, and his story is given time to build. Not only that, but Peter gets to use some science and detective work to bring him down, rather than just a CGI smackdown (though there's plenty of that too). Yes, a lot of the origin story is something we've seen before, but they've gone out of their way to freshen it up a bit, and it definitely feels less contrived.
It's not flawless, by any means, and I may need a second viewing to clear/confirm my doubts. I've certainly read/heard negative reviews with which I can't disagree- but ultimately I can't deny I enjoyed the experience of watching this film.
With Denis Leary, Martin Sheen and Sally Field all being worthy of a shout-out as well, I'd say that this second version of the franchise isn't so much a reboot after all. It's an upgrade.

Film Review - Chariots of Fire

Re-released ready for the London 2012 Olympics, this was my first time seeing this Best Picture Oscar-winning classic. Despite being a period drama to begin with, it does feel a little dated, but appears to have lost little of its charm. Lacking in spectacle it may be, but getting a sport-hating couch potato like me rooting for sportsmen is no mean feat.

Film Review - Magic Mike

Quite inconsequential, actually leaving pretty much every plot thread untied... but I guess it's not really about the plot. It's just a snapshot of life as a stripper, the twist being that this time it's men. We see the highs of adulation, the lows of succumbing to temptation, and the completely blank expression that is Cody Horn. For me, it wasn't so much about the flesh on display as it was about the dancing and creative staging of the shows. It's fantastic to see Channing Tatum dance again- the first time since Step Up- and it makes you realise how wasted he is in generic romdrams. If only they'd roped in Zac Efron as well.

Film Review - Killer Joe

There's not much to this, other than a build-up to a memorably unpleasant scene involving the humiliation of a woman with some "K Fried C". That said, the cast are superb and the humour is jet-black in a way that makes you wince, rather than laugh.

Film Review - The Dark Knight Rises

Firstly, let me make it clear that The Dark Knight Rises is a good film. Unfortunately for it, however, it's a follow-up to one of the greatest movies ever made, The Dark Knight, and comparisons are inevitable. As it happens, the majority of critics and fanboys have fallen over themselves in praise of this one too, so that side of the argument is pretty easy to find out there. I beg to differ. I was disappointed. My expectations were not met. What follows is my attempt to articulate this.
Some have called The Dark Knight Rises ambitious, but for me it's a case of more is less. Overcomplicating something does not make it intelligent, nor more interesting. Quite the opposite. Scene after scene is perfunctory. It gets you from A to Z, but every letter that's spelled out is more for accuracy or exposition than for excitement or entertainment. There's too much going on for, you know, fun stuff. There's taking it seriously, and then there's sucking the life out of it.
It is, by far, the worst of the trilogy. It's flabby, and a bit of a mess with unnecessary characters aplenty, twists for the sake of twists, fights for the sake of fights, and long periods of tedium. It actually reminded me a lot of Die Hard With A Vengeance- but without the fun first half-hour.
Tom Hardy's Bane is awful, in so many ways. Gary Oldman's Commissioner Gordon spends far too much of the film in a hospital bed. Michael Caine's Alfred may manage to emote, but I can't say I felt it too. If a character has lost the cartilage in both knees and broken their back, don't insult us all by having them up and fitter than ever by the end of the film. A lot of lines of dialogue are delivered with the wrong intonation. There are at least three or four new characters here whose absence would actually improve the film (don't get me started on Marion Cotillard). Anne Hathaway's Selina Kyle can steal and kick as much ass as she likes, but there is never an excuse for littering. I could go on.
On second viewing, I came to the realisation that I simply don't find this one interesting. It's the actual plot/story that just doesn't grab me enough. Examples;
It's a bomb! Gotham's going to be blown up! In FIVE MONTHS' TIME.
Oh...
Something about corporate financial assistance!
O...kay...
Let's lock Batman up in a weird jail-type scenario for bloody ages, failing to escape! Lots! With pseudo-psychology from old men speaking foreign for no reason!
OH DO SOMETHING INTERESTING OR JUST GET ON WITH IT!!!
Ironically, the set-up IS pretty interesting. We're told it's time for Gotham's reckoning. Organised crime is gone, yet the rich are getting richer, the poor are getting poorer. (See what they did there?) Time for things to be set right, right? Well, no. We'll take that interesting, relevant premise and just use it as the catalyst for a generic, shockingly dull, well-organised form of anarchy.
However, it's far from all bad, though. The action has definitely been ramped up, as has the spectacle. Not a single penny of the budget has been wasted. Some of the new additions to the cast are welcome, as they light up the screen. Anne Hathaway is surprisingly good, though after the first hour or so even they seem to realise she's ultimately pretty superfluous (as is her young partner in crime, who appears to vanish into thin air). Joseph Gordon Levitt is a welcome addition too, although his gung-ho enthusiasm has little to do. Once we get the big reveal of his character, it's doubly frustrating, but at least you know you haven't wasted your time watching him.
However, the film does build to a decent climax, wraps things up neatly, and works effectively as an ending to the trilogy, as well as a beginning for a potential new chapter.
If they decide to continue, I'll still be there, as excited as ever. Just maybe with slightly lower expectations.

Film Review - Chernobyl Diaries

Lots of hatred out there for this movie, but I really enjoyed it. The tension was built nicely, the characters weren't too irritating, and the locations/sets were perfect. It did lose steam once the characters were being picked off, but overall had some genuinely tense, jumpy, and creepy moments. I always prefer horror that relies on your imagination over gore, and this delivered.
But, to be fair, I did watch Storage 24 immediately before this, so anything would look competent and scary after that.

Film Review - Storage 24

When the protagonists don't even pretend to be scared then why on earth would the audience?

A horror without scares. Waste. Of. Time.

Film Review - The Dictator

Veers from facetious to funny, then facetious, then funny, etc. Lots of laughs, but also lots of crap. Nowhere near as good as Borat, but way better than Bruno.

Film Review - Abraham Lincoln Vampire Hunter

Pretty much what I was expecting, but lacking the visual flair I was hoping for from Bekmambetov. The sepia tones, and ink-like blood was an original touch, but not enough to get me overly excited.
It has some decent moments, looks nice, and wraps itself up tidily, but is overwhelmingly slow to the point of tedium. The slow-motion action scenes didn't help.

Film Review - Friends With Kids

I was expecting to sneer cynically along with this film after its initial setup, but instead came out feeling like I'd been hugged for two hours. For me, the best romcoms/romdrams say something recognisable about true love, and this one pays that off nicely. Acutely observed and immensely enjoyable, if possibly a little too neatly wrapped up.

Film Review - Red Tails

Based on a true story that is as infuriating as it is inspiring, this film features an impressive cast of familiar, mostly black, faces and some spectacular scenes of aerial combat.
Unfortunately, it also comes with leaden dialogue, paper-thin characterisations and clichés galore.
It's by no means a waste of your time, but in as much time you'll have probably forgotten all about it.

Film Review - Snow White and the Huntsman

Blimey, that was tedious, even with a half-hour nap. A half-star for the visual effects and another for the dwarfs. Why on Earth would anyone cast Kristen Stewart as the girl who radiates light and life? Even under ageing makeup Charlize Theron's beauty surpasses hers. Avoid.

Film Review - Men In Black 3

After a few years away, Will Smith is back, and is reviving one of his big franchises in the process. Unfortunately, there seems to be a general consensus of "meh", possibly down to the disappointing preceding sequel. However, fans of the first need worry not, as the franchise is back on track.
Things don't begin well. We're introduced to the film's (rather dreadful) big bad, Boris, in an escape scene that is oddly lacking in any sense of drama or excitement, involving a rather baffling cameo from Nicole Scherzinger. This is followed by a funeral for Rip Torn's character "Z" that is played for laughs- but is the first of many jokes that fall flat. It's soon business as usual, as we get the obligatory alien gorefest, this time in NY Chinatown. But all of this is before the plot properly kicks in and, once it does, things begin to look up.
The film truly comes alive once we meet "young" Agent K, played phenomenally well by Josh Brolin. His Tommy Lee Jones impression is spot-on to the point of Oscar-worthy (as if they'd honour such a role). Will Smith's acting has come a long way in the intervening decade, and he's looking uncomfortable in the somewhat childish, wise-cracking role. But of course, Smith's Agent J only really works when playing against the deadpan Agent K, so even though he's a new actor to the franchise, it's only now that Brolin had appeared that we finally feel back in familiar, comfortable territory.
Another interesting addition to the cast of quirky characters is the utterly bizarre, but fascinating Griffin (A Serious Man's Michael Stuhlbarg), an alien who can see all possible outcomes in any situation. He proves to provide a lot more than exposition, and makes for surprisingly enjoyable company.
One of the biggest gripes about blockbusters- especially sequels- is plot and character development. Well, this film has both, in spades. A lot of the jokes that fell flat earlier are actually set-ups for character moments that pay off later; some are of little significance, others prove rather profound. One thing I was not expecting from MiB3 was an emotional pay-off. But, to my pleasant surprise, I received one.

Film Review - Prometheus (in 3D)

The "Alien" prequel that isn't an "Alien" prequel, this has been my most eagerly-anticipated film of the year. I've managed to avoid pretty much everything about it, so did it disappoint?
Well, to be honest, yes. If you're going to reboot a franchise, then you're obviously going to have to live up to what came before. And on pretty much every level, "Prometheus" fails by comparison.
Firstly, a crash course for the uninitiated. In "Alien", we see a giant, dead, humanoid creature (known in the fandom as a Space Jockey, here named as an Engineer) with its chest burst open. The implication is that this creature was piloting a ship that somehow picked up an alien species that has killed the crew and caused a crash landing on moon LV-426. The human crew in "Alien" answer the crashed ship's distress signal, and, unfortunately for them, encounter a field of eggs laid by the stowaway alien species. "Prometheus" gives us some more information about the history of the Engineers, but on moon LV-223 (not LV-426). So it's set in the same universe as Alien, but this isn't dealing with the same story path of the original series.
On the positive side, "Prometheus" is visually spectacular. From the opening shots of breathtaking scenery, to its hi-tech CGI gadgets and back to the familiar Giger designs from the Alien franchise. Every frame is a work of art in a way that only Ridley Scott could photograph. Whilst there are a few moments that arguably make it worthwhile, the 3D is mostly superfluous. There are long sections where you could probably take your glasses off and miss very little.
The cast has its strengths- Noomi Rapace is fabulous as the intelligent, emotional core of the film (but she's no Ripley), Michael Fassbender is superbly ambiguous as android David (but he's no Bishop), and Idris Elba adds some much-needed personality to the crew as the ship's captain (but he's no Hudson).
Unfortunately, the rest of the crew bear more resemblance to the- let's generously call them- characters from the Alien Vs Predator franchise than the Alien franchise. Charlize Theron gives an icy Nicole Kidman impression as The Rich One With The Company's Interest In Mind (but she's no Burke), Guy Pearce is inexplicably cast in unconvincingly heavy prosthetics as an old man (we never see him young, so what was the point?), Logan Marshall-Green is initially charismatic as Rapace's love interest/ science partner (but he's no Hicks), then undermines himself by suddenly losing interest in his own cause, before falling victim to a rather unnecessary plot device. And it's this very device that sets the film off on the wrong tangent.
One of the most frustrating things about a lot of Hollywood movies is their instance on human intervention. In "Jurassic Park", it can't be that the dinosaurs overpower the humans, a human has to disable the security first. And in "Prometheus", we can't simply discover the origins of the Alien species, there must be some level of human interference. Yes, this is a film about creation- where did we come from, and why? Does anyone have the right to destroy a form of life it created?- but we're not allowed to just accept that the Engineers are a random alien species that simply encountered another random alien species. Heaven forbid alien life forms actually interact with other alien life forms without humans being involved in some way, shape or form.
The life cycle of the alien creature has long been established, and although it is tweaked and evolved ever so slightly in each film, the differences are subtle, but the life cycle remains. Egg, face-hugger, chest-burster, fully-grown alien. Not here. Here, it's basically rewritten, and rather than some "aaaah, that's how it started" Eureka moment, it just stinks of bullshit rewriting for the sake of it. I can accept a different evolutionary path under different circumstances, but not so profoundly in a space of 30 years.
But, these criticisms aside, I don't want to make out like I sat there hating this film on any level. I didn't. I was completely captivated for every second, even if the answers I was so eagerly anticipating turned out to be as frustrating as they were intriguing. It's basically a cross between "Alien" and the first "X Files" movie, with a bit of "2001" thrown in.
There is plenty of action and atmosphere to counteract the inaction, just unfortunately it loses the claustrophobia of the original, and there are very few genuine scares. I've said it before, and I'll say it again, slime and tentacles aren't scary. The face-hugger and Giger aliens, on the other hand, are possibly the most terrifying creations in cinema history. Don't try to reinvent the wheel, when it's as perfect as it is.

Film Review - The Raid

A hugely enjoyable, viscerally violent film, this has you on the edge of your seat, heart pounding, face wincing, eyes desperately trying to keep up with the complicated, yet beautiful fight choreography.
The action isn't quite as non-stop as many reviews claim, but the film is better for that, as whilst the plot may be slight, there is more than enough to keep you invested and interested. The cast are superb, a recognisably diverse range of faces and characters, each giving their roles their all.
The first half of the film is brutal, and the fights feel real- this isn't a case of men lining up to be knocked out with one punch- they are seriously put out of action, and are left suffering in pain on the floor for the rest of the film. Unfortunately, the second half then lets this down as it becomes more and more generic, as the film's thrills peak well before the halfway point. But it is a minor gripe as I already can't wait to see it again.
Welsh director Gareth Evans is a star in the making. Hollywood will be beating down his door with the ferocity of his characters. Part of me hopes he turns them down, and stays in Indonesia, if this is what he continues to produce.

Film Review - Dark Shadows

Tim Burton is an acquired taste. I'm frequently finding myself questioning whether or not I've enjoyed his films, and over the last decade he's gone a bit mainstream, so I've generally leaned towards the positive. However, Dark Shadows is definitely more old-school Tim Burton, and again, I can't decide if it was good or terrible. I'd have to conclude that it's a bit of both.
The production values are as high as ever, as the visuals have a unique quirkiness that only Burton can bring, including its purple-heavy colour palette and distinctive art direction. The visual effects are, at times, amazing, particularly towards the end when Eva Green's porcelain skin cracks like an egg.
Helena Bonham Carter isn't given much to do, but doesn't do it very well. Johnny Lee Miller is similarly wasted, and it's only Michelle Pfeiffer who has enough screen presence to command your attention; only to have her vampish matriarchal role virtually disappear in the final act. Chloe Grace Moretz is certainly no better or worse than she's ever been, although she's growing up fast. Eva Green's mugging become very tiring very quickly, making her look both stunningly beautiful and oddly grotesque at the same time.
As for Johnny Depp, it's fair to say he's phoning it in. Ordinarily, you can see why women would fight over him, but Tim Burton has a unique knack of desexualising one of the world's most handsome men, and does so again here. His now familiar British accent has lost both its impact and novelty value, and his acting treads the fine line between larger than life and hammy- but fortunately avoiding the latter. Just.
And yet, the whole thing is rather tedious. Very patchy in style, story, and tone, it toys with elements of horror, melodrama, comedy... But never achieves any of them. It's never less than entertaining, but does get a little tiresome as you're wondering where it's going before discovering the answer is nowhere.

Film Review - 21 Jump Street

TV shows being made into movies is nothing new, and is a trend that is unlikely to end any time soon. I can't say I ever remember watching 21 Jump Street, but was aware that Richard Grieco was expected to be a big star thanks to this show (evidently, not to happen) and that Johnny Depp played a character I mistakenly, though understandably, thought was called Handsome (I believe it was actually Hanson).
So it's fair to say I came at this afresh, and as concepts go, it's a pretty decent one. Recently trained police officers who look younger than their age are sent back to high school, undercover. Whether either Jonah Hill or Channing Tatum fit this description is not actually relevant, since even the film itself takes pleasure in pointing out that they don't.
Such meta references are actually part of this film's success. For example, when they shoot a petrol tanker, they- and we- are surprised when it doesn't explode, and Ice Cube addresses that he is the "angry black captain", etc. You get the gist, but they are careful not to overdo it.
But ultimately it's no more than your average, run-of-the-mill action comedy. It's a fun way to pass a few hours, but is unlikely to leave a lasting impression, nor have you flocking back to see if again.

Film Review - Safe

Jason Statham is carving out quite a decent career for himself. He has the requisite looks, charisma and physicality to pull off the action hero not seen since Bruce Willis had hair. This adds very little new to his acting canon, but does at least maintain a standard of consistency he's kept up since (after) the last Crank film.
It's your basic McGuffin thriller about a man who has been (very and repeatedly) wronged, and sets out to set things right- not out of revenge per se, but to ensure the safety of the McGuffin- in this case, a young girl. Unfortunately, said young girl is not the greatest actress in the world, but she's not enough to weigh this film down to anywhere near intolerable levels. It does get pretty brutal and sways into some dodgy moral territory, but as a nuts and bolts thriller it does the job well.

Film Review - Marvel Avengers Assemble (in 3D)

Having enjoyed all of the Marvel movies to date (especially Iron Man onwards), I was looking forward to this film, but not quite as much as a lot of others seemed to be. I've been far more excited about Prometheus, The Dark Knight Rises and Brave, but this has proven to be everything I hoped it could be and more.
Writer/director Joss Whedon has a proven track record when it comes to dealing with ensembles, big-named or not, and uses the same sharp wit seen in Firefly and Buffy here. He realises that this film has no one star, and it's the interactions that make the characters who they are.
Iron Man should be the obvious star, the ego-maniac with the sharp tongue, but he doesn't get to steal the limelight. Hawkeye and Black Widow get something to do here; the former is simply a flawless archer with a quiver of tricks, the latter a manipulator, an expert at extracting information under the guise of weakness. With Buffy-esque kick-ass skills to boot. Captain America is the grounding force, all sincerity and concern, a true soldier, lost in the future. Thor is the pretty-but-dim alien who feels responsibility for protecting Earth from his brother's machinations, whilst still feeling that sibling bond.
Which brings us to the Big Bad, Loki. After a (ahem) low-key presence in the Thor movie, the prospect of his return as the villain did not excite me. Yet Whedon has somehow managed to make Loki threatening. Not by beating anyone up, or smashing things, but by simpy lighting the blue touch paper of conversation and retreating to watch the fireworks with malicious glee.
One of my favourite moments in the film- blink and you'll miss it- is when a few of the heroes pause to rescue a group of people out of a bus before returning to the carnage. And it suddenly dawned on me what the superhero films since Superman II have been missing. The human victims. The people. It doesn't matter how bad the evil villain(s) is/are if we don't properly see the consequences. It's a nice touch that wasn't lost on me.
If there is a stand-out character, a star of the show, it's The Hulk. Apparently Joss Whedon was quoted as saying that his aim was for people to exit excited for the next Hulk movie. Given the previous two Hulk instalments have done the opposite, it's an unexpected delight to state that he's succeeded. The CGI may not have improved, but Hulk's impulse to "smash" certainly gets the film's two biggest laughs.
Avengers is not only an enjoyable action-fest, but also one of the funniest films I've seen in years, featuring moments I can't wait to share with people.
Incidentally, I saw this in IMAX 3D and have to say it didn't warrant either IMAX or 3D. Just see it, preferably in a packed cinema, as soon as you can. Obviously, you'll get more out of it if you've seen Iron Man, Thor and Captain America beforehand, but I wouldn't say it's essential. I'm off to rewatch them now.

Film Review - Wrath of the Titans (in 3D)

I'm a huge fan of the old Greek/Roman myths, and love to see them on-screen, in any guise. Even the Clash of the Titans remake, which was mostly terrible, did enough things right to get me into this sequel. Unfortunately, I should have heeded the first one's warning. Rather than concentrating on the story of Perseus's further adventures, we get lots of ramble and crowbarred-in back story involving a son and a new love interest. But there's giving a character depth and development, and then there's just wasting the audience's time. It's a fine line, but this definitely falls into the latter category.
For example, when Perseus is presented with the legendary labyrinth, it looks impressive and unachievable. A matter of minutes later, he's in the centre. But at least that means it's time for his legendary battle with the Minotaur, right? A matter of seconds later, it's all over. Seriously, what have I paid money to see here?
The final, climactic battle with the mighty [insert name of whatever the giant lava thing is called] is quite visually impressive. But it's too late, I've had far too many naps by this point to give a shit.
And the 3D is still crap.

Film Review - Titanic (in 3D)

To commemorate the 100th anniversary of the real-life tragedy, I waited until this weekend to see one of my favourite movies back on the big screen, and it doesn't get much bigger than IMAX. And if any film deserves to be seen on the biggest of big screens, it's Titanic.
This is the film that reversed the fortunes of its inspiration. The Titanic was the largest ship ever built. Labelled as "unsinkable", it famously sank on its maiden voyage. Before it was even completed, the 1997 film "Titanic" had pretty much entered the history books as the biggest flop of all-time, having gone ridiculously over-budget, over-schedule, missed its summer release date and had a famously disgruntled cast and crew. It went on to become the highest-grossing film of all-time, winning rave reviews from even the sniffiest of critics, and 11 Oscars.
History has, however, been somewhat rewritten. Rather than remaining a beloved and acclaimed film, it has gone on to become one of the most mocked and derided films ever made. Many claim they never liked it to begin with, but plenty did, and there are times when I feel like one of the few people left who will stand by it. Yes, even the Celine Dion song.
If I'm going to invest three-plus hours in doing something, I'd rather go with it than cross my arms and sniff at it. Fortunately, the lengthy running time zooms by faster than most movies half its length.
It's by no means perfect. It does have some seriously dodgy dialogue, and for a film that was so lovingly, painstakingly researched to the nth degree, it features some glaring anachronisms, most notably the sinking of some famous works of art that hang in museums today.
But even taking such goofs into account, there is still a lot of bang for your buck. Even those "rooting for the iceberg" can't deny that the second half's scenes of devastation are spectacularly realised.
But, ultimately, the film is not a story about the Titanic, it's a love story that happens to be set aboard the Titanic. The historical detail is merely window-dressing, there to enhance the story- the romance between engaged socialite Rose and homeless vagabond Jack. If you're not invested in their story, then the film likely won't work for you. And the story of Jack and Rose captivates me every time.
Kate Winslet and the late Gloria Stuart both received Oscar nominations for their performances as Rose, young and old respectively. However, there are two other stand-out performances that deserved more credit in my eyes, and that's without mentioning Kathy Bates's terrific turn as "the unsinkable" Molly Brown.
First is Frances Fisher, who plays Rose's mother. What could have been a purely villainous role is entirely undone in one scene where we finally see things from her perspective. Selfish, certainly, but sympathetic and understandable. Fisher plays every moment- mostly without words- to perfection, in every scene.
But the other performance has to be that of Leonardo DiCaprio. An actor who has done his absolute best to make people forget this movie, it remains, hands-down, his best performance. He injects Jack with so much life and verve that his enthusiasm for life is infectious, and it's easy to see why Rose would prefer a "fruitless existence" with him to that with her mother and Cal. DiCaprio has gone on to become a rather samey actor, and it's interesting to look back at this star-making role to see why the world fell in love with him in a very different role.
The film does have its own equivalent of Jar Jar Binks, in the thankfully more attractive form of Billy Zane. His Cal is lumbered with the film's most facepalm-inducing lines, and all that's missing is a moustache to twirl. Each time he opens his mouth, you wish he'd just kept it closed.
However, the biggest elephant in the room this time around is that of the 3D. I've been very vocal in my criticism of 3D, but this is one of the increasing number of exceptions. There were a few moments that stood out because of the 3D, and for the most part it was a pretty faultless conversion, although after the first hour or so you don't really notice it anymore. Did it make it a better film? No. Did it make it a worse film? No. Either way, it's just a great excuse to see this big movie on a big screen, where it belongs. And 15 years later, none of the magic has been lost.

Film Review - We Bought A Zoo

Matt Damon nails yet another role, this one as a recently widowed father with a stroppy teenage son and adorably cute daughter- both surprisingly tolerable- and the family dynamic is nicely written. Even the oft wooden Scarlett Johansson convinces in arguably the most human role I've ever seen her attempt.
Once in a while, a film comes along that's unashamedly sentimental, and, try as you might, you are powerless to resist. This is one of those films.
So why was I willing to go along with it? Because, despite dealing (sensitively) with tragedy in various guises, it's the triumphs that evoke the tears.
That, and Sigur Ros. Let's face it, the song "Hoppípolla" would probably make you cry if you played over a shot of someone mowing a lawn. But I'd prefer to think it was the very sweet icing on an otherwise deliciously satisfying cake.

Film Review - The Cabin in the Woods

This film sees its co-writer and producer, Buffy creator Joss Whedon, finally reunited with the horror genre, alongside several of his TV alumni. What could possibly go wrong? Truthfully, I can't decide if this is absolute genius or absolute garbage. Upon reflection, I'd have to say it's an equal balance of both.
"You think you know the story. Think again", teases the trailer. At the time, I didn't know what they meant. Having seen the film, I know EXACTLY what they mean. Whatever you're expecting from this film, I absolutely guarantee you that this will not be it. You may jump, you may laugh, you may say "urgh", you may even guess what the background shenanigans are all about, but you will not expect what this film throws at you.
I entered the screening knowing very little, and almost recommend you do the same, should you choose to see it. But my biggest fault is that I didn't have a clue what the hell was going on, right up until the final act. It's designed that way, but I found it alienating. The jumps come as thick and fast as the jokes- but I never felt truly scared nor amused.
This film is admirably bodacious, irreverent, and ambitious. It will, without question, generate legions of fans in years to come, if not on immediate release. At this moment in time, I do not count myself amongst them- but that may change. I have to give them their fair dues for thinking so far out of the box.
I'm curious as to whether it'll work better second time around, or whether or not to even tell you what it's about, so you're not frowning at the screen as I was. Alfred Hitchcock said it best, an audience confused is not an audience entertained. Although make no mistake- the final act of this film redefines entertaining. This makes Drag Me To Hell look like an episode of Downton Abbey.
What I will say is be warned. Forget Buffy & Angel. This is very gory and features all sorts of horror staples. Literally.

Film Review - The Hunger Games

As a plot device, people killing people for others' entertainment has been done, done and done. Battle Royale, The Running Man, Tron, Gamer... even Gladiator. I could go on. So what makes The Hunger Games stand out above these? Truthfully... I don't know, and I am not even sure that it does. But it's definitely one of the better examples.
Firstly, a disclaimer. I made the rare (for me) decision to read the book of The Hunger Games just before seeing the film, so I have to say some objectivity may have been lost in this review, as I had grown attached to the characters before they even appeared on-screen. I enjoyed- but didn't completely love- the book, and the film was a pretty faithful adaptation. [I do have issues with the changes to the ending that I won't address here for spoiler reasons.]
The film is a strange concoction of contradictions. The story is oddly intriguing and yet rather uneventful. It manages to be both predictable and surprising, playing with your expectations before ripping the rug from under your feet, and then sneaking it back again.
The build-up is slow, but, as with all book adaptations, the film feels like it's on fast-forward if you've read the source material, whilst the uninitiated may be left a bit wanting. The visual effects veer from almost comically bad to completely convincing, but the direction is cohesive and effective.
The biggest praise, however, must go to the casting. Woody Harrelson, Stanley Tucci and (an unrecognisable) Elizabeth Banks ham it up just enough without overdoing it, and Josh Hutcherson remains one to watch (see my Journey 2 review), making the most of his best acting showcase since (the amazing) Bridge to Terabithia.
Just a couple of years go, Jennifer Lawrence was Oscar-nominated for Winter's Bone and would have received my vote (over Natalie Portman). She then made for a sympathetic Mystique in the fantastic X Men First Class. But would the curvy blonde cut it as a starved hunter? Truthfully, yes. Every moment is played with complete sincerity, and you're never watching "a performance", and I can't think of a higher compliment.
And yes, I've started reading "Catching Fire"... which I hope to be praising here in a couple of years' time...

Film Review - This Means War

Awards Season is now well and truly over, so if you've been waiting for one of the year's guilty pleasures, then wait no longer, it has arrived.
A film that encourages you to laugh at it, as much as with it, This Is War takes a ludicrous premise, and does increasingly ludicrous things with it. What more could you want?
Reese Witherspoon may be the one with the Oscar on her mantelpiece, but it's the two male leads that steal the show. She opts for the more-OTT-the-better approach to comedy, which rarely works. It doesn't here, as she's clearly unaware that she's in the straight role. The boys, however, play it relatively straight, and are funnier for it. One scene in particular, which involves Hardy taking paintballing just that little bit too seriously, is properly laugh-out-loud hilarious.
Yes, it's a throwaway piece of trash that's predictable, with a rather obvious sense of humour, but if you've come here for subtlety, then you're the fool. The film ups the spectacle, all the while maintaining the laughs and keeping the action coming. There's a little bit of sag at the transition into the final act, but that's a minor gripe if you want a completed story arc.
If the film hits a duff note, it's probably thanks to Chelsea Handler. Anyone who has seen her TV chat show would know she just isn't funny. So she's taken the same schtick (and as far as I can tell, the same writers) and dropped it in this film, passing it off as the ballsy/ kooky/ contradictory best friend. Her character isn't a dislikable one, and she does provide a laugh or two, but her dialogue is atrocious, the apparently hilarious one-liners proving anything but.
I laughed and smiled throughout and whilst I wouldn't rush to see it again, I'll no doubt be flicking channels one day, see this is on, and next thing I know I'll likely have watched it to the end.

Film Review - John Carter (in 3D)

Which came first, the chicken or the egg?
100 years ago this month, Tarzan creator Edgar Rice Burroughs published his first novel about the hero to be known as John Carter of Mars. Amazingly, this is the first time that this character has been brought to life on the big screen.
The result? Rather than being the original, fantastical adventure the likes of which cinema audiences have never seen, we're instead given something of a rehash of the films that took it as its inspiration.
The character's legacy in the movies becomes increasingly apparent. You're frequently reminded of Avatar, Attack of the Clones, Return of the Jedi, and, most worryingly, Cowboys Vs Aliens. John Carter fans cry "but this story came first". That doesn't excuse this film adaptation from being derivative, however slavishly it follows the book. In the hands of Pixar genius Andrew Stanton, the man who gave us Wall-E, Finding Nemo and the Toy Stories, it's even more inexcusable.
Firstly, the film takes AGES to get going. With a few notable exceptions (foiled escapes, discovering the gravity on Mars), there's an awful lot of ramble. You know they're setting up a pair of bookends for the film- and, indeed, the ending is more satisfying as a result- but it's not done in a way that's interesting enough to the casual viewer who doesn't know where it's all going. Perhaps on second viewing it'll fly by, maybe even resonate emotionally... but it's unlikely many will choose to sit through this twice.
The cast are shockingly bland. The likes of Mark Strong, James Purefoy, The Wire's Dominic West and the mighty Ciaran Hinds are wasted on forgettable roles and Lynn Collins makes a non-existent screen presence as the female lead, rather then making the most of a potentially career-launching role.
Thankfully, it's Taylor Kitsch, John Carter himself, that gives the film any star power. He has the requisite bad boy charm to pull off his early scenes, and gets to flex some very impressive action muscles. Lean and lithe, rather than built and bulky, Kitsch looks the part, even if he isn't asked to do much more in terms of acting other than smoulder. Let's just say he plays to his strengths; once the shirt comes off, it pretty much stays off.
It's certainly not all bad news, and I don't want to misrepresent this as an absolute turkey. The visual effects are, of course, incredible, and there's more than enough on display here for you to get your money's worth. It's a shame you have to have to wade through so much tedium to get to it.
One more thing to note, I have long been a dissenter against this 3D trend, especially 2D films that are later converted into 3D. This is one of the latter, and, I have to say, they've done a pretty remarkable job. Quite a few times I found myself noticing the 3D effect, and was quite pleased with the results. If you are going to see it, I might actually recommend seeing the 3D version for once. If nothing else, it's got me even more excited about the forthcoming Finding Nemo re-release in 3D.

Film Review - Tyrannosaur

Having missed this in its initial run, I managed to catch it recently, during its BAFTA tour re-release. It's received a lot of acclaim, including a BAFTA for its debut director, actor Paddy Considine (a man coincidentally born on the same day as me).
But it's the performances, in particular, Olivia Colman, that have received the most attention. And she deserves all the praise in the world- tender, caring, downtrodden, and yet forceful when required. She is absolutely heart-breaking.
Peter Mullan is just as fantastic (as usual), playing a terrifying brutal streak with a horrifying believability, whilst keeping the character relatively sympathetic and relatable. Imagine Victor Meldrew with a violent streak.
A worthy mention also to Eddie Marsan, a now-familiar welcome presence in any movie, and whilst his character is as brutal and tender as Mullan's, it's in a completely different, yet no less believable way.
As for the plot, it's one of those where you think you know where it's going, but doesn't really get there. You suspect it's heading somewhere bad, but there are opportunities for redemption- reminding me of This Is England '86. Unfortunately, once the film reveals its final, most shocking secret, it quite possibly should have ended there. Instead, it continues, rather ambiguously, only hinting at what came next regarding the leads' relationship. Nothing wrong with that per se, but I felt it was unsatisfying as and end to the rather brilliant, if harrowing journey on which we'd been taken.

Film Review - Safe House

After the temporary blip that was the rather marvellous Unstoppable two years ago, Denzel Washington is back on tediously disappointing form with this run-of-the-mill actioner.
Throw in some grainy stock footage, far-too-close-to-see-what-the-hell-is-going-on action scenes, highly expected twists and overly long scenes of waffly exposition and you get the picture.
That said, the performances are surprisingly good. I hated Training Day and thought Denzel's Oscar win for that was an absolute travesty, and this is the far more convincing hard-man performance he should have given in that film. Similarly, Ryan Reynolds gives a tear-filled, emotionally-charged performance that is, frankly, far too good for this film.
Some of the action is pretty good, what you can see of it, anyway. There are quite a few extended chases, car chases, shoot-outs and punch-ups, not to mention quite a few jump-out-of-your-seat moments. Unfortunately the film seems a bit preoccupied with its delusion of its own depth, and drags itself down in the process.

Film Review - Extremely Loud and Incredibly Close

This has potentially become the Best Picture Oscar nominee with the worst reviews EVER. Does it deserve them? In a word, no. It's not even the worst film of the nominees.

Yes, it has its flaws, but given that this will be one of the few positive reviews of this film on the web, I'd like to explain why.

Of the Oscar-nominated films about a kid whose late father left behind a key, this is the one that's worth watching. For me, Hugo just didn't work, nor emotionally connect. This film did both, and in 2D.

Yes, it's flawed and manipulative, but a lot of its criticisms are unfounded. Setting a film around the events of "9/11" is a risky thing to do, as it can be (and, in this case, has been) accused of using the events to create an emotional bond that the characters/story should have managed on their own. As far as I'm concerned, the film has succeeded.

The emotional weight in the story comes from the emotional connect/disconnect between father and son, mother and son, husband and wife, grandson and grandparent, but, most overwhelmingly, the emotional bond that can be achieved between complete strangers.

The inclusion of the 9/11 events are important, however. This is the tale of a child wandering the boroughs of New York, on a mission to extract personal details from complete strangers. The fact that his father died in 9/11 serves to make these strangers more open to his quest, rather than some cheap attempt to emotionally manipulate the audience into more sympathy. This accusation has been levied- unfairly- by many a sniffy critic, but it's certainly no cheaper nor emotionally manipulative than War Horse, even if the latter was more successful.

The performances are strong, and not just from Supporting Actor nominee Max Von Sydow. Hanks and Bullock are given very little to do, but their brief appearances do still manage an emotional weight. Bullock's late revelation does generate a little scepticism, even if it does go some way to justify why someone would allow their young son to walk the streets of New York alone. Sydow's character, whilst adding a quirky charm that lights up the screen, ultimately adds nothing to the story, especially his "so what?" twist regarding his potential connection to the boy (which is never confirmed anyway).

Oskar, the boy, is something of an acquired taste. He has some form of social disconnection- Autism? Aspergers?- and his rapid-fire delivery (not to mention that damn tambourine) can irritate more than charm. But Thomas Horn does a phenomenal job, given the complexity of his role, even if you ignore his age and the fact that this is his first acting role. Director Stephen Daldry, of course, discovered a young Jamie Bell, and appears to have found another potential star. He's the man that directed both Nicole Kidman and Kate Winslet toward their elusive Oscars, and, again, his direction is very assured. Once more he has made a worthier contender for Best Picture than a few of its rivals.

Film Review - Chico & Rita

A couple put more time and energy into arguing about each others' infidelities than they do into their relationship, both professional and personal. 47 years later they decide they should be a couple. I assume we're supposed to care.

Film Review - Albert Nobbs

An intriguing premise, but the story goes nowhere. There are a few predictable-but-dramatic directions that the story could have taken, but ultimately it isn't even interesting enough to explore them. Close and McTeer give brave performances, but neither truly convince as men.

Film Review - A Better Life

A quite moving account of an honourable man trying desperately to provide for his son, whilst encouraging him to remain on the straight and narrow, despite himself being an illegal immigrant living on the outskirts of the law. Bashir's Oscar-nominated performance is indeed strong, but certainly not the only reason to see this.

Film Review - Man on a Ledge

Snakes on a Plane had snakes on a plane. Similarly, Man on a Ledge has a man on a ledge. However, whereas the snakes were the most interesting part of the former, it's not the case with the latter.
In one of his previously high-profile roles, Sam Worthington was the actor who had more charisma in his animated Avatar form than in his human counterpart. Conversely, Jamie Bell proved with TinTin that he's more charismatic when seen, rather than heard. So when the two are paired on-screen as brothers, it's no surprise that it's Jamie's show, and fortunately he's given all the hard work, while Sam does little more than literally stand on a ledge. But at least he's not as embarrassing as Ed Harris's baddie, who may as well have been given a moustache to twirl in his fingertips.
Elizabeth Banks, hilarious in the likes of 30 Rock, The 40 Year-Old Virgin and Zack & Miri Make A Porno, follows up The Next Three Days with another serious role. I'm still not quite convinced that she can pull it off, but it may be simply because I worry her finely-tuned comedic instincts are wasted on dramatic roles.
The film ultimately reveals itself to be a pretty perfunctory heist movie. Cue crawling through vents, still images placed over security cameras, dangling from wires in elevator shafts... you get the gist. You may see the ending coming long before the lead characters do, although I was hoping that at the very least its execution would have been a bit more creative.
You wouldn't exactly be wasting your time and money going to see this, but I can pretty much guarantee there's little here you won't have seen before.

Film Review - The Woman in Black

Before we begin, I must confess I have neither read the book nor seen the play, so this is coming from the perspective of someone arriving at this story fresh. I had seen the trailer, and admittedly a lot of the big jump scares are in there- but there is so much more to this film than making you jump (and, chances are, it will).
For me, as someone who isn't especially squeamish, any horror/ thriller works better the less you see. Some of the scariest moments in cinema history are simply seen through someone's reaction, a sound off-camera/ in darkness, or being aware of some knowledge that the on-screen protagonist doesn't have. This film relies on all of the above and more, managing to keep the scares coming, each as creative as the next.
The most effective part is the overwhelming sense of dread, that this is a series of events that is out of anybody's control. The more Arthur (a grown-up, post-Hogwarts Daniel Radcliffe) investigates strange noises, the more you're willing him to ignore them, get on with his job and leave. But the more he wants to help, the more trouble he is perceived to be causing.
There are times when suspense is stretched almost to snapping point, and yet is never overdone to the extent where it starts to get boring. In one scene, Arthur crosses a landing to investigate a creaking noise. This seems to take him several minutes, and the suspense only increases with every delaying second. Pretty much every moment of suspense has its own reward, so you never feel unduly cheated.
Most importantly, there is an emotional core to this film that comes to a conclusion, and one that I found very satisfying, at least from a storytelling perspective.
So we come to the elephant in the room. How is Daniel Radcliffe as a leading man, without the support of his friends or his magic wand? Well the truth is that there's nothing here we didn't see in his Harry Potter. This includes a certain amount of jaw-clenching stiffness, but he had made large strides of improvement over the last half of the series, and I was more than willing to believe him as this character in this period of history. He still has some way to go, but worry not, he can carry a film. He knows how to react better than to act, so this role is something of a perfect fit.
This is one of those films that seems better the more you think about it, even afterwards. I'm certainly intending to see it again. And to those concerned about seeing an edited version (the BBFC ordered a few minor cuts for the 12A certificate), don't be. The film does not feel in any way neutered or dumbed-down for a younger audience, quite the opposite. I can't imagine this film would work anywhere near as well outside of a cinema, no matter how decent your home system is, so if you wait for the unrated DVD you will probably end up missing out.
Screenwriter Jane Goldman's love for Asian horror has paid off successfully here, and she is becoming a force to be reckoned with. She also co-penned two other recent favourites of mine, Stardust and X-Men First Class. I'll be surprised if this doesn't join them by making my annual top 10 of the year.

Film Review - Chronicle