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  • At the Cinema: August 2010

    The Leopard (1963)

    Magisterial, langorous historical epic set in 1860s Sicily as a single Italian state is being created by Garibaldi and his army. Burt Lancaster is excellent as the patriarch of an aristocratic family who realises the old world is passing in to history, and he must work with the new order to ensure his family’s survival. Exquisitely shot, this is up there with Gone with the Wind in terms of masterful melodrama – though where Scarlett O’Hara was all fiery determination, Lancaster’s Prince is more weary acceptance. It might be long, but the final ball sequence is more than worth the wait. 5/5

    Scott Pilgrim vs. the World (2010)

    Edgar Wright strikes again with this warm, witty ode to young love and Nineties computer console games. Scott (Cera) is a young 20-something aspiring rock star who had his heart broken by a former girlfirend, started dating a high schooler, and then falls head over heels with the ethereal Ramona (Winstead). But he must defeat her seven evil exes in order to start properly dating her. Imagine Spaced blended with manga and Sonic the Hedgehog, and you might get an idea of how this odd-yet-endearing romantic action comedy plays out. It might run out of steam a little towards the end, yet there’s no doubting Wright’s imaginative directorial style.  4/5

    The Illusionist (2010)

    Beautifully evocative, gently melancholic animated fable about the passing of the music hall era at the end of the fifties. Moving from Paris to the remote Scottish Highlands, and then to Edinburgh, a stage magician goes in search of an ever-dwindling audience in an era that is turning its back on the entertainments of old in favour of television and rock ‘n’ roll. On his travels he meets a young girl who is fascinated by his acts of magic and tags along for the ride. Poignant yet delightful.  4/5

    Piranha (2010)

    Extremely silly, extremely gory remake of the semi-classic 70s Jaws rip-off. Lots of blood and boobs, delivered with tongue gently in cheek, which makes it a hoot to watch with an audience that are in on the joke. Special mentions must go to Richard Dreyfuss and Christopher Lloyd who bring their years of experience to bear in small but pivotal roles. Shame about the rubbish 3D, though.  3/5

    Salt (2010)

    Above average action thriller starring Angelina Jolie as a spy who is implicated as a Russian sleeper agent and is forced to go on the run. Lots of fun action in the Bourne mold, with some nice twists along the way.  3/5

    The Last Airbender (2010)

    Utterly terrible fantasy adventure from M. Night Shyamalan, adapted from the popular cartoon series. Badly scripted and badly directed, with uninvolving action and so-so performances. Avoid. 1/5

  • At the Cinema: July 2010

    The Karate Kid (2010)

    Decent enough remake of the 80s hit, though it follows the original almost beat for beat. It’s also a bit too long, but Jackie Chan is good in the role of the mentor and Smith is fine as the kid.  3/5

    The A-Team (2010)

    Enjoyable action thriller based on the classic 80s tv series. A good cast make the most of their roles, with Cooper and Copley particularly good, while the action is suitably OTT. 3/5

    Inception (2010)

    Masterful sci-fi action thriller which bends the viewer’s brain on a journey through dreams and illusions. Director Christopher Nolan is always on top of the story, even when its Russian doll-style story structure gets increasingly complex, thanks to brilliant editing and a sure-footed adherence to its own rules. DiCaprio has never been better, and the rest of the cast are all on top form too.  5/5

    Toy Story 3 (2010)

    Superlative second sequel to the daddy of all CGI feature toons, Toy Story. Pixar’s winning streak continues with this emotional and hilarious tale of toys coming to terms with their owner becoming an adult. As good a part three as is possible to make, it works on every conceivable level. One can only hope that this is the final part too; it’s the farewell that these beloved characters deserve.  5/5

    Predators (2010)

    Solid second sequel to the 1987 Schwarzenegger action classic Predator. Enough action, suspense and story innovation to make this an enjoyable Friday night flick.  3/5

  • At the Cinema: June 2010

    Get Him to the Greek (2010)

    Reasonably amusing comedy starring Russell Brand reprising his character from Forgetting Sarah Marshall, Aldous Snow. It has enough laughs to get by, but not much more. Brand is fine, but he’s never really let off the leash. 3/5

    Rashomon (1950)

    Fascinating, influential drama which despite its age still has the power to provoke and astonish. 5/5

    Breathless (À bout de souffle) (1960)

    Extremely influential, extremely cool.  5/5

    Brooklyn’s Finest (2009)

    Solid, suspenseful thriller about three cops struggling to deal with the ambiguous nature of good and evil in their work as law enforcers. A bit overcooked at times, with clichéd characters aplenty, but the gripping set-pieces make up for any plot deficiencies. 3/5

    Shrek Forever After (2010)

    Passable third sequel to the fantastic original raises the odd smile but is otherwise forgettable fluff. Despite the ‘It’s a Wonderful Life’ alternate setting, we’ve seen it all before, and it was much funnier a few years ago. 2/5

  • On the Archers – the films of Powell & Pressburger

    If you follow me on Twitter, you’ll no doubt have seen me blathering on about a course I recently attended on Michael Powell and Emeric Pressburger, organised by the Cambridge Film Consortium, and run at the Cambridge Arts Picturehouse. My general knowledge of film being woefully deficient in too many areas, I knew very little about the work of the Archers (as they are also known – it being the name of their production partnership). I did catch the restored version of The Red Shoes last year on the big screen; and a few years back I was fortunate enough to see Jack Cardiff attend a screening and Q&A of Black Narcissus, though naturally it didn’t mean as much to me then as it would do now. But beyond this, I hadn’t seen any of their works.

    I’m not foolish enough to attempt a full-scale critical evaluation of their work on the back of a day and a half’s study and a few dvd screenings, so instead I’m simply going to jot down a few personal thoughts on what I saw as their main points of interest.

    Glorious Technicolor!

    The first thing that strikes you about the most famous films of P&P is their extraordinary luminesence. Aided by some of the finest craftsmen in the British film industry, in particular cinematographer Jack Cardiff, Powell and Pressburger delivered a series of films that were unequalled by their contemporaries. In particular, their three post-war melodramas – A Matter of Life and Death (1946), Black Narcissus (1947) and The Red Shoes (1948) – are stunning achievements even by today’s standards. The awe-inspiring grandeur of the afterlife in AMOLAD, the remote windswept Himalayan convent in BN, and the wonderful, full-blown fantasy ballet sequence in TRS are all remarkable achievements that have withstood the test of time. The ambition and beauty of these films cannot be questioned.

    Much melodrama

    The melodramatic stories and scripts of the Archers can have the effect of putting off an audience, particularly a modern one. Yet it is just this quality of heightened drama that works so well when mixed in with Powell’s taste for the fantastical. Taken together, the viewer is whisked away in to a story that only has one foot in the real world. This is literally the case in AMOLAD, but equally exotic is the landscape and people the nuns try to civilize in the remote and alien environment of BN, while the aformentioned ballet sequence in TRS drops any pretence at realism and is all the better for it. One can only imagine the effect these scenes had on an audience worn down by the war and rationing.

    A cast to die for

    Not only did P&P employ a formidable technical crew, they also attracted strong casts. Roger Livesey worked with them on three occasions: I Know Where I’m Going!, A Matter of Life and Death and most memorably, The Life and Death of Colonel Blimp. It’s a shame he isn’t better known today. Many other actors returned to work for them: Googie Withers, Kathleen Byron, Marius Goring, Anton Walbrook, John Laurie – all delivered memorable performances in more than one Archers production. In particular, Powell’s films tended to provide strong roles for women. I Know Where I’m Going! starred Wendy Hiller as an independant woman knowlingly marrying a man purely for his money until fate intervenes, while The Red Shoes tells the story of a woman (Moira Shearer) having to choose between her marriage and her career. In this respect, P&P were somewhat ahead of their time.

    Landscapes

    Finally, the attraction Powell felt for landscapes and the people that lived there is quite evident. The remote Scottish islands featured in The Edge of the World (1937), The Spy in Black (1939), and I Know Where I’m Going (1945) are all testament to Powell’s romaticised view of their history, beauty and isolation, and the same goes for the wilds of Shropshire in Gone to Earth (1950) and Kent’s quiet splendour in A Canterbury Tale (1944). A mystical quality somehow connects the people with their land, and outsiders from the city must succumb to its charms – as seen in The Edge of the World, A Canterbury Tale, I Know Where I’m Going! and Gone to Earth.

    It’s difficult to sum up the work of this most fruitful of filmmaking teams in so short an article, but I hope I covered some of the main points of interest. I would certainly recommend them to anyone with even a passing interest in the history of British cinema.

  • At the Cinema: May 2010

    Bad Lieutenant: Port of Call New Orleans (2010)

    Quirky, exciting, darkly comedic thriller about a New Orleans cop who gets deeper and deeper in to trouble with the police, rival criminal gangs, his girlfriend and his family in the aftermath of Hurricane Katrina. Great performance by Cage. 4/5

    Prince of Persia: The Sands of Time (2010)

    Rather flat adaptation of the long-running computer game franchise. Stop-start nature of the plot, slightly wimpy hero and gibberish storyline overcome the potential fun of the premise. 2/5

    Robin Hood (2010)

    Rather dry and dull re-telling of the origins of the Robin Hood legend. Uneven pacing and uninteresting characters make this a disappointing adaptation. 2/5

    Four Lions (2010)

    Dark comedy (or light tragi-comedy if you prefer) about a group of Muslim men in northern England who are desparate to join the ranks Al-Qaeda and the like, and so plot to launch a suicide bomb attack. Trouble is, they are not the most competent of terrorists, and their efforts to strike at the evil West are foiled by their own idiocy. Director Chris Morris (The Day Today) has crafted a film that is as funny as it is thought-provoking, as well as occasionally very moving. Performances are all pitched perfectly, while the film itself neatly avoids offending either Muslims or victims of terrorism. It simply shows the would-be attackers for what they are: real people, misguided and flawed, but people all the same. 4/5

    Iron Man 2 (2010)

    Slightly messy but still enjoyable sequel to 2008’s Iron Man, with Robert Downey Jr. returning to the role of Tony Stark, billionaire and not-so-secret superhero. This time, Stark faces two separate villains, Mickey Rourke as a Russian technical genius with a personal grudge against him, and Sam Rockwell’s businessman who is in competition for lucrative U.S. military contracts. Add to this the problem of Stark’s suit slowly poisoning him, problems with his business, and interest in his technology from covert governement agencies, and you have a very busy plate. The film does sag a bit in the middle, and feels a bit overly busy, but it remains fun all the way through. This is mostly down to Downey Jr, who fits the role of Stark perfectly, and whose energy and charisma keeps the story buzzing. Director Jon Favreau handles the action well, but crucially keeps the stuff inbetween engaging too. 3/5

  • At the Cinema: April 2010

    The Ghost (2010)

    Absorbing thriller from ‘Chinatown’ director Roman Polanski, based on the Robert Harris novel, about a writer (Ewan McGregor) hired to help get the former British Prime Minister’s (Pierce Brosnan) memoirs in to a publishable state. Trouble is, the previous writer hired to do this died in mysterious circumstances. Did he discover a secret he shouldn’t have? Film is slow to get started, but soon develops in to a highly enjoyable cinematic page-turner. Good performances all round, with McGregor in a strong lead role and Brosnan radiating charismatic arrogance. 4/5

    Psycho (1960)

    Wonderful to see the definitive Hitchcock horror up on the big screen for the first time, where of course it works even better than any showing on the small screen at home. Its pleasures are many: the camerawork, the performances, the score, the sly and witty script. This is a film that revels in its seedy story, yet elevates it in to a masterclass in suspense and shock. An undisputed classic from beginning to end. 5/5

    Clash of the Titans (2010)

    Disappointing remake of the 1981 Ray Harryhausen mythological epic about Perseus (Sam Worthington) and his quest to defeat the ancient God Hades (Ralph Fiennes), who is trying to usurp his brother Zeus (Liam Neeson). Lots of action to be sure, but very little else – an uneven script and uninvolving characters make the film a very passive experience. Performances aren’t great either; Worthington plays the same character he always does, and Fiennes merely reprises his role as Lord Voldemort. At least the original had a bit of charm. 2/5

    How to Train Your Dragon (2010)

    Very likeable animation from the directors of Lilo & Stitch about a Viking boy whose village specialises in killing the dragons that regularly attack them. The problems start when he befriends one of the dragons… There’s plenty of the action and visual energy you expect from a computer-animated film, but there are also characters who slowly draw you in to the story, making the climactic battle an intense experience with a somewhat surprising (but perfectly pitched) ending. Plenty of good-natured humour too that for once doesn’t rely on fart jokes or pop culture references. Good stuff. 4/5

  • At the Cinema: March 2010

    Kick-Ass (2010)

    Vastly entertaining black comedy about a New York student who is also a wannabe superhero. He has no powers, but decides to become one anyway. His amateur adventures unfortunately lead him in to murkier waters when a mafia boss decides he is a threat to his business. The humour may be dark, but the thrills and action are blinding in this instant cult classic. It may not be perfect, but when you’re having this much fun, who cares? An appreciation for comics and superhero lore is not essential, but certainly helps.  5/5

    Alice in Wonderland (2010)

    Tim Burton’s version of the Lewis Carroll classic falls someway short of his best work, but remains an enjoyable slice of dark fantasy. Alice returns to a more grown-up version of Wonderland, where the despotic Red Queen (Helena Bonham Carter) has taken charge. She must lead her old friends, including the Mad Hatter (Johnny Depp), in to battle to return the White Queen (Anne Hathaway) to the throne. Although interesting, there is not a great deal of excitement here or, more crucially, wonder. Still, a Tim Burton film is always to be welcomed, and there are enough distractions here to offset any niggling humdrumness: the performances from a strong cast are all good, especially Bonham Carter’s Red Queen and Stephen Fry’s voicing of the Cheshire Cat, while Burton’s usual florid visuals and Danny Elfman’s score are big plus points.  3/5

    Shutter Island (2010)

    Highly entertaining gothic psycho-thriller from Martin Scorsese about a U.S. Marshal (DiCaprio) investigating the strange disappearance of an inmate from a mental asylum on a remote island. Scorsese has great fun piling on the mood, tension and red herrings, paying tribute to a genre with a rich cinematic history. DiCaprio is fine as the lead, but this is the director’s show all the way. Whether you enjoy the film or not will come down to whether you are willing to succumb to a lesson in old-school filmmaking. An expensive and luxuriant shaggy-dog story, (very) well told.  4/5

    Green Zone (2010)

    Quality action thriller from Bourne alumni Matt Damon and Paul Greengrass about the search for WMDs in post-war Iraq in 2003. Plenty of gripping action on show here, but an intriguing conspiracy thriller also weaves its way through the story. Whether you believe its explanation for the lack of WMDs found or not, it admirably provokes debate on the issue without getting bogged down in lecturing on the rights and wrongs of the Iraq war. Populist cinema it may be, but good cinema too.  4/5

    The Lovely Bones (2009)

    Flawed but interesting adaptation of the popular novel by Alice Sebold. 14 year old Susie Salmon is murdered, and from the afterlife she looks on as her family try to cope with their grief and her murderer plans to strike again. Although imaginatively told and exquisitely made, there is a lack of drama in the afterlife scenes (which are lifeless in every sense of the word) that undermines the potential power of the story. Still, the acting’s good, especially from Wahlberg and Weisz, and large parts of the film are undoubtedly gripping and moving.  3/5

  • Five Favourite Guilty Pleasures (or, Films wot I like and sod the rest of yer)

    We all have them: films that we know are basically nonsense but we love them all the same. It might be because they have certain memories associated with them that instantly bring about a sense of comfort and happiness inextricably linked with another period in your life. It might be because they touch upon a particular interest of yours that very few other films do. It might even be precisely because they are rubbish that you enjoy them. Whatever the reason, the guilty pleasure is the film that you always have in a well worn dvd case on the shelf, nestled between other films that are probably more artistically worthy, but which see the light of day far less frequently. Were you forced to argue their case as a genuine celluloid classic, you would surely fret; but they are always there when you need them, as comforting as a hot cup of tea, a biscuit and a fluffy pair of slippers on a cold winter’s day.

    Here then are my top five guilty pleasures, films which I know are easily ridiculed, but nonetheless are essentials in my collection.

    1. Flash Gordon (1980)

    I know this has a strong following in a few quarters, but it would take a pretty deluded person to argue that the film is not a teensy bit silly. That’s not to say I think it’s rubbish, because it’s assuredly not. Camp, yes; cheesy, yes; fun? Hell, yes. This is a hugely enjoyable slice of early 80s fantasy science fiction. Colourful, imaginative, sexy, quotable, exciting – this one has it all. A great cast too – Topol! Max von Sydow! Peter Wyngarde! Timothy Dalton! Richard O’Brien! Peter Duncan! Robbie Coltrane (for a split second)! Plus the delicious Ornella Muti and of course the now-legendary Brian “Gordon’s alive!” Blessed. Even Sam J. Jones, dubbed though he was, looks the part. The definitive Flash Gordon it isn’t, but a classic it is. Well… nearly.

    2. The Running Man (1987)

    Well, there had to be one Schwarzenegger movie somewhere on this list. For a while I considered Predator, but in the end there is too much good stuff in Predator for it to be classified as a guilty pleasure. The Running Man on the other hand, released in the same year, is 80s fun at warp factor ten. A blunt social satire grafted on to the side of a standard Arnie action flick, The Running Man is of course hugely silly, but also rather endearing. The swipes at reality TV have actually become sharper and more amusing with time. But you should still switch your brain off and instead enjoy the silly costumes and ridiculous one-liners.

    3. Species (1995)

    For a movie whose script could so easily have been flung on to the ‘Straight to video’ pile, Species is much better than it should have been. Two reasons for this: the involvement of H.R. Giger and his alien design (no surprise there, coming from this avowed Alien fan), and the glossy direction of Roger Donaldson, who makes the whole package of recycled genre clichés so easy to swallow. The above average cast (Ben Kingsley, Michael Madsen, Forest Whitaker) and easy-on-the-eyes Natasha Henstridge are big pluses too. It was followed by three sequels, each increasingly awful, though Species II has some unintentional comedy value.

    4. The Mummy (1999)

    This is one of those movies whose pleasures have only slowly become apparent since it was released at the cinema. I was initially indifferent to it, especially after the rather nifty posters had promised something a bit more serious and a bit less goofy. But for some reason I was compelled to try it again. It was the first dvd I ever bought (in a 2 for £30 sale! Bargain!) and I enjoyed it much more at home, where its beguiling lead couple, Rachel Weisz and Brendan Fraser, have won me over time and time again. Before the sequels drowned in their own noise and special effects, this film quietly resurrected the spirit of the old Saturday morning serials, and threw in a bit of 80s schlock for good measure. An honourable mention here must go to The Scorpion King, a spin-off from The Mummy Returns, which did for Conan the Barbarian what The Mummy did for Indiana Jones, and is a guilty pleasure in its own right.

    5. The Fast and the Furious (2001)

    The ultimate Beer ‘n’ Pizza film. This is a tricky one; I have no interest in cars whatsoever, and yet this film almost makes me like them. It’s also one of the films I have repeatedly watched with my brother, whose off-kilter sense of humour matches my own. There is a good deal of entertainment to be had here – some unintentional, to be sure. Vin Diesel cemented his star status after the previous year’s Pitch Black, and growls away in a very likeable manner. Paul Walker cemented his wooden acting status here with a turn as a blonde, blue-eyed cop who apparently has the hots for Diesel’s sister, but he’s not fooling me. Rob Cohen does all manner of over-the-top trick shots to make the cars seem unbelievably cool, but in the end its so silly you can’t help but enjoy it. Followed by three sequels and counting, the first of which (2 Fast 2 Furious) is good for a few laughs but not much else. Sadly my brother moves abroad this week, which regrettably means I am unlikely to enjoy this film’s tangible, if dubious, pleasures for some time.

    If anyone has their own guilty pleasures to add, please do so – I’m sure there are others I have missed…

  • At the Cinema: February 2010

    The Princess and the Frog (2009)

    Disney returns to its familiar hand-drawn animated musicals at long last with this loose adaptation of the old Frog Princess fairy tale. Set in 1920s New Orleans, it features the usual mixture of beautiful girls, handsome princes, dastardly villains, comedy animal sidekicks and love conquering all. It also features a great jazz-inspired soundtrack, and is quite simply the best non-Pixar Disney film since Lilo & Stitch. It may not measure up to past classics like Beauty and the Beast, but its setting works brilliantly – the music, the Mardi-Gras atmosphere and the locations (whether the French Quarter of New Orleans or the Bayou). The end feels perhaps a little bit too Shrek, and it might be a tad scary for very little ones, but otherwise a good effort. 3/5

    Solomon Kane (2009)

    Sombre pulp action fantasy, based on a character created by Robert E. Howard, about a 17th century English mercenary and rogue who reforms his ways and vows to fight evil. Taken for what it is, it’s enjoyable stuff – nicely atmospheric, good archetypal characters and well acted. James Purefoy is a strong lead, ably supported by the likes of Pete Postlethwaite and (briefly) Max von Sydow. The limited budget shows through occasionally, particularly in the fight scenes, and this restricts the ambitious story; a stronger director might have been able to do more. But to be fair, Michael Bassett does a pretty good job with it, and further adventures with Kane would be very welcome. 4/5

    The Wolfman (2010)

    Lavishly mounted remake of the classic 1941 Universal horror brings plenty of blood and action to the table, but lacks the tangible atmosphere of terror that it seems to aspire to. The film’s emphasis on traditional qualities like character and story help to redeem many of its faults though, thanks to its strong cast (especially Anthony Hopkins and Hugo Weaving) and a more than serviceable script. A mixed bag then, but entertaining nonetheless. 3/5

    A Single Man (2009)

    Moving, absorbing drama set in the 1960s from first-time director Tom Ford, about a gay college professor (Colin Firth) struggling to cope with his grief over the untimely death of his partner. Excellent performances from Firth, Julianne Moore as his closest friend and Nicholas Hoult as one of his students. Beautifully shot and paced.  4/5

    Invictus (2009)

    Inspiring dramatisation of the 1995 Rugby World Cup in South Africa, and the home nation’s against-all-odds victory which helped begin a healing process for its people, a few years after Apartheid had finally ended. Morgan Freeman as Nelson Mandela is as excellent as you might expect, but Matt Damon is just as good as the Springboks captain François Pienaar. Even people who hate rugby will find this story absorbing. Recommended. 4/5

  • At the Cinema: January 2010

    New year, new decade, new resolution to keep the blog up to date. Starting from this month, I’ll be posting a monthly round-up of my trips to the cinema. As they will be very short reviews, it hardly seems worth publishing them separately, but hopefully once a month won’t be too arduous for anyone. I’ll also try and post initial reactions via Twitter, if you’re one of the twitterati.

    Edge of Darkness (2010) 

    Mel Gibson returns in this reasonable thriller from Casino Royale director Martin Campbell. Based on the classic 80s BBC TV series, Gibson stars as Thomas Craven, a Boston detective whose daughter is gunned down on his doorstep. Initially convinced he was the target, Craven soon begins to uncover a conspiracy involving his daughter’s employer, a company that has some secrets to hide. Gibson is on fine form in his first acting role in seven years. The plot is good, but has clearly been squeezed in to a much shorter running time than the original series, and suffers for it; a more measured pace would have paid greater dividends in some places. Still, there’s plenty to enjoy here, particularly Ray Winstone as a mysterious agent with uncertain loyalties. 3/5

    Daybreakers (2009)

    Semi-intelligent stab at a different sort of vampire movie, where the world has been overrun by vampires and humans are now an endangered species. This poses all sorts of questions, not least of which is: what do vampires eat when human blood has run out? Some intriguing ideas are raised by Daybreakers, and the strong cast (including Sam Neill and Willen Dafoe) do their best, but alas the film squanders them through some dumb dialogue, uninvolving action and an unsatisfying ending. Nice try though. 3/5

    Up in the Air (2009)

    Delightful comedy-drama about a corporate gun-for-hire (George Clooney) who makes a living doing the one job no-one wants to do: laying off staff. Living almost permanently out of a suitcase as he flies across the States, his beloved self-imposed emotional exile is brought crashing down when his own job is suddenly under threat, at the same time meeting a woman (Vera Farmiga) who could well be his perfect companion. At times very funny, at others moving and thought-provoking, this is a winner on almost every count. Clooney is perfect as the high-flyer who comes back down to Earth with a jolt; very much a Cary Grant sort of role, and he gives the film much of its heart. Director Jason Reitman continues his swift ascent to the top flight of Hollywood directors following Juno with a characteristically quirky yet totally accessible parable of our times. 5/5

    Avatar (2009)

    ‘Cowboys and Indians in space’ sums up James Cameron’s sci-fi action drama, as humans try to take over a mineral-rich moon from its indigenous population. Using genetically engineered ‘avatars’ (alien bodies controlled by humans), the company hopes to encourage the natives to leave – but one avatar begins to switch sides. A brilliantly realised production makes Avatar a must see, especially in 3D – the alien world is a marvel to look at. Cameron hasn’t lost his touch when it comes to the action either; plenty of edge-of-the-seat excitement here. If there’s one flaw, it’s the script. Cameron’s weakness is usually his writing, and there are a few duff lines; the plot also has been nicked from Dances with Wolves, spliced with scenes from FernGully. But these are minor flaws in what is a true spectacle. 4/5

    Nowhere Boy (2009)

    Solid dramatisation of John Lennon’s formative years, as he gets in to trouble at school, discovers why he lives with his aunt (Kristin Scott Thomas) instead of his mum (Anne-Marie Duff), learns to play the guitar, and meets a bloke called Paul. Strong performances from a good cast, including newcomer Aaron Johnson, make this an engaging musical history lesson. 4/5