FILM: Little Fockers (dir: Paul Weitz, 2010)

"Mmm...jet-skiing monks.....!"

The third outing for the Fockers franchise is more of the same: slick, efficient and lazily comfortable. It is fortunate that these films have such an accomplished core cast, whose effortless screen presence counteracts frequently flat dialogue and a rather low laugh count. By targeting a wide audience demographic, the more adult-themed humour sits uncomfortably alongside the slapstick and jokes involving bodily functions for the younger element. Most of the best jokes are in the trailer, but the extended Jaws pastiche ("Get out of the ball-pit!") and nice turns by Jessica Alba and Laura Dern show more of the potential energy that the film needed (and which the early cut lacked sorely , apparently) . Hoffman and Streisand appear to be shoehorned clumsily into the narrative, and the main story of the Focker family and Owen Wilson's ongoing infatuation with Stiller's wife simply retreads old ground. Stiller has said that he has "an idea" for a fourth installment which - if it happens - is unlikely to deviate from this cosy formula on this evidence.

DVD: A Christmas Carol (dir: Robert Zemeckis, 2009)

"You don't believe in me..."

Disney's festive offering for 2009 was a literal and uninspired CG-3D take on the Dickens classic, with added aerial swoops and carriage chases for that extra dimension. In fact, the film is so utterly designed for the 3D experience that the 2D version on DVD is really quite dull and unengaging, a remarkable feat for such a fantastic tale. Voice work is generally good, with particular nods to Colin Firth and Gary Oldman. Dickensian London and the Thomas Kincade-style countryside settings cannot but fail to look good, and the advances in CG technique are clear to see in use of lighting and shadow especially. But like Beowulf and The Polar Express before it, this version of A Christmas Carol exists in that Zemeckis netherworld between cartoon and reality, and whilst the ambition is laudable and may well be another stepping stone on the road to completely photorealistic CGI, the viewer is constantly reminded of the overwhelming question: why not just make a decent live-action version?

FILM: Tron Legacy 3D (dir: Joseph Kosinski, 2010)

"What does this User deserve?"

Tron was such a curiosity when it came out in 1982, which was a visual and conceptual treat in spite of the uneveness of its writing, and it could be argued that it almost single-handedly paved the way for all of the CG blockbusters that we have today, such was its impact on many of today's leading film-makers. To have a genuine sequel 28 years later was surprising although perhaps not entirely unexpected, given the developments made in CG, technology and 3D. Using the conceit of Flynn's grown-up son entering the world of 'The Grid' enables a lot of hurried 're-imagining' of key scenes and ideas from the original, without really adding much that is new. Jeff Bridges is good value as always playing the older Flynn and the digitally de-aged Clu, and Garrett Hedlund plays well as son Sam (even if seeming a little old for the spoiled-rich-kid routine at times). The film does look shiny, but the drained and relentlessly gloomy colour-palette becomes tiresome, lacking the pop of the original film's quaintly simple graphics, and as a result the 3D effect is frequently - and surprisingly - underwhelming. Daft Punk's score is superb, easily embracing the new and the retro (think John Carpenter meets Eric Serra at their peak). The somewhat predictable ending is well-played and nicely handled, but rather like Tron Legacy as a whole, it is somewhat disappointingly functional rather than exciting.

FILM: The Chronicles Of Narnia - The Voyage of the Dawn Treader 3D (dir: Michael Apted, 2010)

"I see you're still talking nonsense, the two of you!"

The third Narnia movie does achieve its aims of bringing back the 'magic' (to a large extent) as well as a reasonable stab at a focus on C.S. Lewis's core values (faith, belief, family). It is a significant improvement on the previous outing (The Chronicles Of Narnia: Four Kids Standing A Field), and the sea-faring exploits provide a welcome new settings and the capacity for some good, if fleeting, action scenes. The film improves considerably as it goes along, from an alarmingly shaky start to a rip-roaring final half-hour that generates surprising tension and emotion. As in the previous instalments, Skandar Keynes continues to show promise as Edmund, Georgie Henley is frequently unwatchable as Lucy, Ben Barnes is irredeemably wet as Caspian, and newcomer to the franchise Will Poulter gives an effective if one-note performance as horrible cousin Eustace. Michael Apted conjures some rich visuals and the post-conversion 3D is one of the better examples. The problem with this franchise is that full-length movies highlight the thinness of the source novels in terms of narrative and characterisation, and if the soft US opening weekend does spell the end of this troubled cinematic series, Dawn Treader does at least provide a fitting climax to the trilogy so far and as a light fantasy movie provides solid entertainment.

FILM: Monsters (dir: Gareth Edwards, 2010)

"Doesn't that bother you, that you need something bad to happen to profit from it?"
"You mean, like a doctor?"

Monsters has generated a lot of positive buzz and strong word-of-mouth, and it all turns out to be fully justified. The slow-burn, authentic approach allows the characters to breathe and develop and for the film to display some wonderfully-composed visuals by director Edwards. The sparse, melancholic score by Jon Hopkins adds real depth to this micro-budget film, and FX shots are used sparingly and to terrific effect. The film is anchored by two superb and finely-nuanced contrasting performances by Whitney Able and Scoot McNairy, who are on-screen for almost all of the running time. The ending may not please the Friday-night-popcorn-crowd, but in keeping with the rest of the film, it rings true emotionally. Monsters is a genuine triumph.

FILM: Megamind 3D (dir: Tom McGrath, 2010)

"It can easily be reheated in the microwave of evil!"

If Despicable Me was clearly targeting the younger end of the 3D animation market, then Megamind is definitely not one for the kids. The arch script has an almost Austin Powers vibe, skewering the superhero genre neatly with wry subversion of the conventions, many references to other movies (especially the Superman and Spiderman franchises, as well as nods to other big-budget movies) and even playing with the 3D genre itself (juggling with babies!). An above-average voice cast (with truly considered performances from Will Ferrell and Tina Fey in particular) deliver a script that zips along and is more about raising knowing smiles and laughs-out-loud. 3D design is often stunning, and character arcs are unusually satisfying and effective for this type of film. Although it is not up there with the likes of How To Train Your Dragon or Cloudy With A Chance Of Meatballs, Megamind is solidly and consistently entertaining, but it doesn't really add much to what Pixar's The Incredibles got so right back in 2004.

FILM: Harry Potter and The Deathly Hallows Part 1 (dir: David Yates, 2010)

"It's a long story......"

Deathly Hallows Part 1 is a marked improvement on the last episode, the low-key and dull Half-Blood Prince. This is the Harry Potter film that really shows how far the movie franchise has come since the early days. It is a dark film, but it is the consistently serious tone and performances that keep it engaging throughout, in spite of the episodic nature of the narrative and the tightly-controlled steady pace. Radcliffe, Watson and Grint rise to the challenge equally, with Grint now showing that he is capably equal to the other two leads. The sheer range of locations and situations covered gives this instalment a lot of visual and character opportunities which translate well to the screen, and the emotional and visual bleakness often makes this a film most definitely not suited to the younger end of the audience. Alexandre Desplat provides an excellent score. Deathly Hallows Part 1 is inevitably one long teaser for the finale, but it sets up the big finish in a very satisfying and coherent way - we can only hope that Part 2 will deliver the filmic goods.

DVD: Nativity! (dir: Debbie Isitt, 2009)

"Who can spell me Bethlehem?"

Cute children? Animals? Christmas? Putting all three elements together should make this low-budget Brit comedy unbearable, but Nativity! has a knowing script and winning performances that put it mostly on the right side of entertaining. It splits neatly into three acts: the film opens reasonably grounded in reality, then becomes rather desperate to increase the stakes in the mid-section and ends with the primary school's triumphant performance in the ruined Coventry Cathedral (!) which makes Glee seem like a fly-on-the-wall documentary. It uses the neat trick of contrasting Mr Shakespeare's private school extravaganzas with Mr Madden's more down-to-earth group of children, making this a heartwarming tale of triumph-over-adversity. Marc Wooton provides a bizarrely funny characterisation as Mr Poppy, Madden's sidekick teaching assistant, but it is Martin Freeman's excellent performance as Madden that gives the film its strength and true heart.

FILM: Skyline (dirs: Colin and Greg Strause, 2010)

REVIEW No. 100!

"Is it getting worse?"

It is two out of two for the Strause Brothers following Alien vs Predator: Requiem: terrific trailer, hugely disappointing movie. Skyline is a digital update of War Of the Worlds, with inevitable nods to Independence Day, the Alien franchise, Starship Troopers and Cloverfield. The fundamental problem with the film is the peculiarly dislikable characters who are forced to spout relentlessly appalling dialogue, with which even a capable actor such as top-billed Eric Balfour clearly struggles. There is a lot of genuine D-grade-soap acting in evidence, suggesting that the Strauses are much better at their day job, marshaling special effects rather than actors. A couple of scenes create genuine tension - the first rooftop sequence works particularly well, for example - but curious or uncontrolled shot choices often undermine the intention. For its budget, the effects are good and give the film strong visual appeal. The film does reach a suitably operatic and nihilistic end-point, but this is then followed by a staggering final sequence that is utterly, spectacularly and jaw-droppingly misguided and tops everything else the film has presented to that point. The Strauses are going to get a critical kicking for this film, but it is novice screenwriters Cordes and O'Donnell who are responsible for Skyline's biggest failings.

FILM: RED (dir: Robert Schwentke, 2010)

"Did you VACUUM?"

RED is enormous fun. The film reflects its comic-book origins very carefully, with a nicely-constructed narrative and a witty, breezy script that the actors clearly relish. It treads that very fine line between contemporary and retro stylings in use of camera and superb soundtrack in particular with great success, in a way that Knight & Day failed conspicuously. Bruce Willis seems born to play lead Frank Moses, ably demonstrating what a magnetic screen presence and precise actor he can be, with Mary-Louise Parker providing the strong contemporary 'straight' character to Willis's pensionable agent on the run. Malkovich's comedy turn is spot-on, and the excellent Freeman and Mirren are worthy but slightly under-used in this ensemble. RED is an unashamed fantasy that is slightly-overlong but beautifully played, wonderfully written and extremely entertaining, and credit must be given to director Schwentke for maintaining style and quality consistently.

FILM: Jackass 3D (dir: Jeff Tremaine, 2010)

"The police came in! Little miniature policemen!"

With the Jackass brand now ten years old, and four years since the sequel movie, nothing really changes with the return of the same team now looking older but definitely not wiser, thankfully. The formula stays the same, but the third movie feels more simple and unforced than the last one, and for the most part it is genuinely hilarious. Unlike Dirty Sanchez which simply aspires to nastiness, the joy of Jackass is the genuine sense of long-standing camaraderie and fun that comes across on screen, which invites the audience to be part of the gang with the shared reactions to what is happening. Surprisingly, the 3D element is not a significant component of the majority of the stunts, but it adds a sense of realism and immediacy that truly helps this real-life documentary-style film. With many laugh-out-loud moments and a high hit-rate, Jackass 3D is great fun and is going to make a perfect post-pub DVD in the months to come.

FILM: Due Date (dir: Todd Phillips, 2010)

"Life's weird, isn't it?"

Todd Phillips follows up the smash film The Hangover with this rather tepid and unsure mish-mash of comedy and drama. There are some good lines and entertaining visual gags, but there are also some rather mean-spirited and uncomfortable moments and shifts which emphasise the uncertain nature of the script. Downey Jr gives an expected excellent performance as always but his character is desperately unsympathetic, and Galifiankis - as his mis-matched road-trip companion - alternates awkwardly between being irritating and simply unlikable. Overall, Due Date is reasonably entertaining, but it never really takes off.

DVD: The Collector (dir: Marcus Dunstan, 2010)

"If you're not chosen, you'll never leave this house alive."

The Collector is an odd slow-burner that bravely forgoes dialogue for most of the film and concentrates on the cat-and-mouse contest between a burglar and the titular maniac who has rigged the targeted family home with a number of bizarre (and implausible) traps. The slim premise does manage to hold attention throughout, with clever use of camera and sound to control tension carefully. The director is better known for his writing work on franchises such as Saw and Feast, and his understanding of the genre in both narrative and direction is clear. The Collector may not be particularly original in its set-up or ideas, but it is executed in an interesting and engaging manner.

DVD: 30 Days Of Night - Dark Days (dir: Ben Ketai, 2010)

"This isn't how we did it last time."

Ghost House bring us this direct-to-DVD sequel to the 2007 movie, which opens with a recast replay of the ending of the original and moves the action out of Barrow to urban L.A. by the end of the opening sequence credits. It is this change from the closed, frozen environment of the first film to over-familiar settings that is only part of this movie's weakness, as it is also dogged by numerous cliches of characterisation, sets, props and action set-ups, a laboured script (in spite of a writing credit by series originator Steve Niles), low-end effects and an incessantly droning synth backdrop that becomes very irritating. TV actress Kiele Sanchez takes over from Melissa George as lead character Stella with a dull performance, and the story and dialogue wanders along with little urgency. Even when the ending takes a mildly interesting direction, it ultimately resorts to a very predictable cop-out. The hugely enjoyable original movie is let down by this very disappointingly lacklustre sequel.

DVD: La Horde (The Horde) (dirs: Yannick Dahan, Benjamin Rocher, 2009)

"Brace yourself, kids - Hell's breaking loose!"

La Horde starts off as an emotional Euro-drama, then lurches into a cross between a solid action pot-boiler and a flashily-shot US TV show, but ten minutes in it becomes a full-on, uncompromising and brutal zombie flick. Think Assault On Precinct 13 with the undead as the assailants, as a bunch of cops seek revenge on a gang hiding out in a near-deserted tower block, only for them to be thrown together as the zombie apocalypse arrives. The bleakness echoes early Romero, but these zombies are super-strong and super-fast. The effective cast plays it straight and with considerable enthusiasm, and with only a couple of dialogue-heavy lulls, the film has real drive. Go with the original French soundtrack - the English dub is hilariously over-the-top to the point of parody. A good making-of DVD extra shows the abundant enthusiasm of the directors for their first movie which clearly spills over into the film itself.

FILM: Saw 3D (dir: Kevin Greutert, 2010)

"We've met."

After the disappointing IV and V, the return to form by last year's Saw VI was most welcome, and with this year's (evidently final) entry and contractually-obliged returning director Greutert, Saw 3D shows a reasonable injection of energy, pace and some creativity. The traps are mostly well-constructed (the opening gag in a public booth seen in the trailer is terrific), performances are ramped up to the max, and although the set-up for this film's bunch of victims lacks the political resonance of the previous instalment, it does provide a valid reason for their (wafer-thin) presence and for Tobin Bell's flashback appearance. The 3D - apart from a couple of ill-judged moments of CG offal thrown at the audience - is pin-sharp and used purposefully and effectively, and sound design is excruciatingly superb. Thankfully, the story continues the face -off between Jigsaw's widow Jill and berserk detective Hoffman, but this is only one part of the well-crafted story, which employs the series' usual narrative retro-fitting to good use, and the return of the original film's victim Cary Elwes (with considerably less screen time than the promotion suggests) leads to a neat if rather inevitable conclusion to the entire series.

FILM: Legend Of The Guardians - The Owls Of Ga'Hoole 3D (Dir: Zack Snyder, 2010)

"Just because it's sung doesn't make it a song."

Legend Of the Guardians is a bizarre film and seems like an oddity on Zack Snyder's CV, but its themes of male rivalry, power and heroism are actually a good fit for the director. Everything strives for 'epic': silly names, David Hirschfelder's bombastic and ominous score thunders away, most scenes are bathed in a sunset/sunrise glow, shots are either close-ups or incredibly distant and there are a variety of (unconscious) references to the likes of the Star Wars and Lord Of the Rings mythologies. The story is dense and draws in the viewer from the start, but the mid-section is bogged down by the weight of the film's sense of its own importance, not helped by the inclusion of a montage accompanied by a particularly limp Owl City track. The sense of depth created by the use of 3D is frequently astonishing, and the level of CG-detail is quite extraordinary - this is owls-do-Avatar. With some vicious attacks, an occasionally menacing score and some very weighty dialogue, this is not a film for little children, but at the same time it is difficult for anyone else take it seriously, for all its worthy intentions.

DVD: Meatball Machine (dirs: Yudai Yamaguchi, Jun'ichi Yamamoto, 2005)

"Why didn't you help me?"

Meatball Machine is another Japanese body-horror splatter-fest that on the surface makes little sense but revels in its insane internal logic. Even the clumsy exposition scene halfway through does not care whether the 'necroborgs' come from outer space or beneath the sea, but then all the film is concerned about - like these alien parasites - is the infected mutating, killing and eating each other in increasingly manic ways. This is Power Rangers as directed by David Cronenberg, with a side order of Alien, Robocop and Urotsukidoji. The low-budget and cheap effects immediately distance the viewer, yet there is ambition in the direction and use of camera. What holds the film together is the well-played central romance between Yoji and Sachiko, two lonely people in a nicely-drawn soulless industrial society who ultimately battle each other as the parasites take hold. The inevitable influence of Tetsuo is clear, but here the muddled premise detracts from a film that tries hard and occasionally succeeds.

FILM: Paranormal Activity 2 (dir: Tod Williams, 2010)

"I hate it when you don't take me seriously."

To business: Paranormal Activity 2 is much better than the first film, but it still leaves a lot to be desired. One major advantage for this sequel is that it centres on a largely amiable and credible family set-up (the dog and the toddler are excellent!), as opposed to the unattractively smug couple seen previously. The film is structured very closely on the original, with the same enclosed setting and the 'Night' numbered title screens used to prepare the viewer for the next happening, but the more spacious family home here gives the viewer ample opportunity to keep scanning the screen for 'activity' in the oft-used static extra long shots. The sequel employs more overt references to traditional horrors such as The Amityville Horror and Poltergeist, with the shocks being bigger, louder and better placed here. The narrative and time-frame conceits that link the sequel to the events of the original movie are used cleverly and effectively with a good pay-off in the final scenes, which are swift, brutal yet utterly predictable, the latter being a problem which runs through the movie consistently. Unlike last year's film, Paranormal Activity 2's ending points to only one possible and more literal threequel movie, which will no doubt be inevitable as this franchise takes over from Saw as a regular Halloween fixture, a true triumph of marketing over content and substance.

FILM: The Social Network (dir: David Fincher, 2010)

"I DID NOT torture the chicken! I don't torture chickens!"

It is to be expected that a film directed by David Fincher and scripted by Aaron Sorkin will be dense, rich and demanding, and The Social Network delivers on all three fronts. The film's repeatedly static scenarios are given a true sense of energy and momentum by the rapid-fire dialogue and constant narrative shifts. Most scenes are conducted either at desks or sitting around a table, but the interesting characters and unfolding enmity between them make them compelling to watch. Jesse Eisenberg is excellent as Mark Zuckerberg, Facebook's 'creator', showing an incredible combination of fierce intelligence and flawed vulnerability on the screen, almost matched by Andrew Garfield as his friend and original business partner and Armie Hammer playing both Winklevoss twins in a seamlessly integrated pair of performances. Trent Reznor and Atticus Ross create a restrained and very sympathetic soundscape, and Fincher's superb visual stylings have considerable impact throughout from the very first frames (the only misfire being the odd selective defocusing at the Henley race scenes). The ending comes abruptly, and the viewer is still left wondering how much of this story on film is "imaginations running wild", but The Social Network provides a thoughtful, challenging and very rewarding insight into this still-recent global internet phenomenon and the very human stories behind it.

FILM: Despicable Me 3D (dirs:Pierre Coffin, Chris Renaud, 2010)

"I said a DART machine, not...."

Despicable Me wisely gets a head start on the similarly-styled MegaMind. Out of all of this year's CG-animated movies, it is most squarely aimed at the younger end of the market, and as a result it is simply (and thinly) plotted, moves at a leisurely pace and is gentle and harmless. Steve Carell gives fading villain Gru surprising pathos, and there are some good visual gags - as given prominence in the trailers, the 'minions' are easily the most entertaining thing on display here. As the CG-animated genre matures, there is an increasing sense of similarity and recycling of style in evidence in films such as this one, but overall Despicable Me offers a pleasant, inoffensive and largely uneventful experience for any but the youngest audience members.

FILM: The Town (dir: Ben Affleck, 2010)

"It's all under control."

Like the gang's bank heists in the movie, The Town is meticulously planned and executed, resulting in a film that is beautifully constructed and drips craft. As a director, Affleck demonstrates a real eye for interesting visuals and arresting coverage of not only action set-pieces but also quieter, more intimate moments. Plot and characters hold consistent interest on both visceral and emotional levels. The cast is universally excellent, with very strong performances from Affleck, Jeremy Renner, Jon Hamm and Rebecca Hall in particular. The film successfully conveys the limitations of this small Boston criminal neighbourhood and of the lives of its inhabitants, which results in a triumphantly hard-hitting and thoughtful movie.

FILM: Devil (dir:John Erick Dowdle, 2010)

"It's like when people see Jesus in a pancake, you know?"

After an inventively-presented title sequence, Devil plays like an old 1970s Amicus-style potboiler, glossed up for the 21st Century and with a Saw-like twist thrown in for today's generation of horror fans. With a story from the increasingly bankrupt imagination of M Night Shyamalan, the join-the-dots-with-a-blunt-pencil plot jolts along unsubtly to its underwhelmingly signposted conclusion. The acting on display will not trouble the Academy Award voters, but there is a nicely-played central performance by Chris Messina as the troubled detective. The director contrasts the confines of the stuck lift with more expansive scenarios (such as the lift shaft and the lobby) effectively on screen, but overall there is little that excites or surprises here.

FILM: The Hole In 3D (dir: Joe Dante, 2010)

"You're wasting my time. There's nothing down here."

This isn't the great director Joe Dante of Gremlins and Matinee, but more like the mediocre one of Small Soldiers. The Hole In 3D is a curious mash-up of The Ring and Elm Street written for five-year-olds, and as a result it is crushingly predictable, insipid and dull. Matters are not helped by the vapid trio of lead child actors, including the most lightweight 'rebellious teenager' performance by Chris Massoglia that you are likely to see this year. 3D composition is so consciously contrived that you start to fear that every single exterior shot will be forefrounded by some kind of foliage, although added depth does liven up the final sequences to some degree. Dante's obligatory Dick Miller (blink-and-you'll-miss-it) cameo raises a smile, but there is little else here to hold interest.

FILM: The Other Guys (dir: Adam McKay, 2010)

"I AM A PEACOCK! YOU SHOULD LET ME FLY!"


The Other Guys is an amiable, smartly-written comedy, sending up the cliches and absurdities of the well-worn cop/action genre to good effect yet retaining its own identity with effectively-drawn characters and some strong performances. There are some very well-realised stunts and physical effects to satisfy action fans and to give the film credibility as a send-up, right from the opening double-decker bus sequence that features quite superbly over-the-top performances by Dwayne Johnson and Samuel L. Jackson as a pair of ridiculously uber-macho super-cops. As the film's main focus, Mark Wahlberg and Will Ferrell are an excellent on-screen partnership, Wahlberg proving yet again that he can do straight-guy comedy so well, and Ferrell dialling down the hysteria a notch to give a genuinely effective comic performance. Michael Keaton appears as their long suffering Chief, reminding us why his comedic star shone so brightly in the 80s, Eva Mendes is terrific as Ferrell's wife and Steve Coogan demonstrates his spot-on delivery in a limited villainous role. Athough the film gets more serious towards the end, as plot inevitably takes precedence over humour, The Other Guys is consistently entertaining and quality is sustained to the end.

FILM: Cyrus (dir: Jay and Mark Duplass, 2010)

"You've got to get used to my weird sense of humour."

Do not be misled by the trailer - Cyrus is definitely not another conveyor-belt knockabout comedy. The film very quickly establishes itself as a warm, genuine, finely-observed indie-style drama with some nicely-judged laughs along the way. The film has essentially four significant characters, three of whom are refreshingly middle-aged, slightly world-worn and weary yet still optimistic enough to give the relationships game another spin. John C Reilly (quite a revelation here) and the magnificent Marisa Tomei play their unexpected new relationship with superbly detailed performances and excellent rapport and timing that are largely improvised, supported well by Catherine Keener as Reilly's ex-wife. Jonah Hill plays Tomei's emotionally-stunted, possessive man-child of a son totally straight, managing effectively to be both sympathetic and dislikable at the same time. The oft-repeated quick zoom pulls within shots quickly become irritating, but an interesting slightly off-kilter score gives the film charm. A rather rapid and pat conclusion is slightly diappointing, but for the most part Cyrus is an engaging and well-played movie.

FILM: Resident Evil - Afterlife 3D (dir: Paul W.S. Anderson, 2010)

"Why am I not surprised?"

For such a generic franchise - and for one inspired by a series of videogames at that - the Resident Evil films stand out by having the guts to hang on to ongoing characters and storylines, yet also giving each of the movies a slightly different tone and feel. For this fourth entry, after a blistering opening assault on the Umbrella Corporation's underground Tokyo base (promised at the end of the third film) with a ludicrously high body count and scale of destruction, Afterlife settles down to a more low-key and often quite reflective tone. Milla Jovovich and Ali Larter make a terrific pair of action heroines, and here the supporting cast is strong (if dispatched rather quickly). The film has an ambitious sense of (globe-trotting) scale, and the clarity and depth of field achieved by proper 3D (using the Avatar cameras) is mostly excellent comapred to recent post-conversions, augmented by some stunning virtual sets and real landscapes but uneven CGI. The sound mix is aggressive, with the soundtrack not so much a score as a rave playlist. Typically, plot and dialogue remain basic, with Idiot Plot cranked up high (including the least secure prison armoury ever), and Paul W.S. Anderson returns to direct the film with his usual sound creation of visuals and his unashamed magpie approach to inspiration from other genre hits (the Alien and Matrix series, The One, etc). As a 3D cinema experience, Afterlife has a lot to commend it, so it will be interesting to see how it fares on home DVD viewing.

FILM: The Last Exorcism (dir: Daniel Stamm, 2010)

"....but this - this is old school."

Just like last year's Paranormal Activity, The Last Exorcism could never hope to match the preceding hype. However, unlike Paranormal Activity, Daniel Stamm's movie is actually well made. The story is effectively constructed, building and developing potential narrative directions from emotional, psychological and horror angles which engages the audience, even if some of the more interesting and impactful possibilities are ultimately not fulfilled. Patrick Fabian gives a terrifically energetic central performance as the doubting pastor who agrees to having one final random request for an exorcism to be the subject of a documentary to disprove it once and for all - hence the excuse for the Blair Witch shaky-cam conceit which is used to good (if hardly original) effect for the most part. Indeed, the small cast delivers apt and tightly-controlled performances, giving the set-up a good level of authenticity. The ending will divide viewers, and in some ways takes away from a lot of the good work done up to that point. The Last Exorcism hints at a much darker and more satisfying film than this superficially entertaining and reasonably interesting film actually provides.

DVD: (500) Days Of Summer (dir: Marc Webb, 2009)

"There are two types of people in the world: there are men and there are women."

(500) Days Of Summer is delightful - calculatedly so, maybe - but still delightful. It is a gently-humoured, wry journey through an idealised young couple's relationship, leaping around the timeframe of their 500 days in order to create effective juxtapositions of the good times and bad, the excitement of the early days and the exhausted regret of the end. Apart from the irregularly-used voice-over which intrudes, the script is pitch perfect and the structure beautifully handled by director Marc Webb. The somewhat deliberately indie/kooky selection of songs can feel contrived, but it gives the film a wistful, almost nostalgic, feel. The film naturally hinges on the central couple: as Tom, the excellent Joseph Gordon-Levitt delivers yet another faultlessly-etched, detailed performance, ably matched by Zooey Deschanel's signature brand of effortless charm as Summer. There are plenty of wonderfully-staged situations and one-liners which elevate (500) Days Of Summer well above the average romantic comedy and into the realm of finely-observed emotional drama. Who would have thought that a visit to IKEA could be so much fun?

DVD: Centurion (dir: Neil Marshall, 2010)

What are you waiting for - an order? Get stuck in there!"

Centurion is a good, solid film, effectively directed by Neil Marshall who gives his now-familiar group-under-siege scenario a robust new setting. It is unapologetically violent and bloody, creating a real sense of danger and desperation throughout. The bleak, wintry Scottish Highlands provide a terrific visceral backdrop to the action, well served by the Lord Of The Rings-style swooping wide landscape shots which give the film a suitably epic and timeless feel. Ilan Eshkeri delivers an excellent score, matching the different tonal shifts extremely well. The cast certainly suffered on location which is evident on screen, and Michael Fassbender and Dominic West prove to be superb leads, backed up by a very strong (mostly British) cast. The key characters are interesting to watch and follow, and the film packs in a lot of different situations which gives it real energy and momentum. Whilst the film offers little that is new, Centurion definitely delivers on plot, characters and action.

DVD: Basement (dir: Asham Kamboj, 2010)

"It feels like we've been walking around this place for days. It's doing my nut in!"

This micro-budgeted British horror is getting a near-simultaneous release across a range of media platforms, which is either to satisfy modern consumers' demand for whichever format they want to watch or to maximise takings before word-of-mouth spreads. The director suggests in the bonus features that the idea was too compelling for a short and was subsequently developed further, but running at a meagre 73 minutes it feels much, much longer. The majority of the movie consists of the trapped 'students' wandering around murky tunnels, their disinterest rapidly empathised with by the viewer. Characterisation is basic, dialogue is alarmingly dire, pacing is leaden and little happens. An attempt at a score wanders in randomly, and themes such as war, genetic engineering and patriotism are shoehorned in to give some kind of sci-fi justification for the whole plot which actually makes little sense. A couple of reasonably-handled gore moments liven things up briefly, but even then the actors do not seem that bothered by events. The fact that even Danny Dyer did not attend the premiere speaks volumes. Basement is murky, dull and utterly unengaging.

FILM: Scott Pilgrim vs. The World (dir: Edgar Wright, 2010)

"Hey! Big fan."
"Why wouldn't you be?"

Scott Pilgrim vs. The World is an absolute joy from start to (predictably sweet) ending. Edgar Wright directs with astonishing assurance, handling the mash-up of genres and tones to superb effect. It is boundlessly creative, with terrific anime/gaming-styled fight sequences and an excellently-constructed soundscape that ties the whole film together very tightly. The cast play it pitch perfect, Michael Cera and Mary Elizabeth Winstead giving consistently engaging and surprisingly well-executed lead performances and notable support by Ellen Wong as Knives - Scott's high-school-age girlfriend - and Kieran Culkin as his room-mate. The script and visuals are zippily constructed, the barrage of on-screen conceits even covering the occasional falters in dialogue. Scott Pilgrim is an immensely appealing movie that has real heart amongst the on-screen mania.

FILM: Piranha 3D (dir: Alexandre Aja, 2010)

"Zoom in! Zoom, zoom, zoom, ZOOM!"

Inception may have tickled the brain cells, but Piranha 3D is easily one of the most entertaining movies of the Summer. It is a full-blooded, 18-rated horror that genuinely delivers. Piranha 3D hearkens back to classic 1980s slashers, except instead of one masked killer and a handful of teenagers in the woods, here we have a massive shoal of cold-blooded murderers with 20,000 college kids on Spring Break! The casting is also a retro-fest, with Elisabeth Shue giving a strong performance as the local sheriff, Jerry O'Connell sleazing with ease as the seedy internet-porn director, and brief cameos from Richard Dreyfuss, Dina Meyer and Christopher Lloyd. Kelly Brook was born to play a bikini-clad soft-porn star in a 3D movie, and as our innocent protagonist and moral compass, Steven R McQueen (The Vampire Diaries) impresses throughout. Indeed, a strength is that the film is played seriously, eschewing the high-camp theatrics of the 1980s film, and once the very low-key first half set-up (with emphasis on totally gratuitous T&A) makes way for the ensuing non-stop bravura rollercoaster of set-pieces, there is a real sense of menace and jeopardy the moment anyone makes contact with water. 3D has not been used with such gleeful abandon in a horror movie since Friday the 13th Part III in 3D (which may have had a 3D flying eyeball, but this film trumps it with a bitten-off penis!). The inevitable Jaws references are nicely handled (an abundance of yellow inflatables, the reverse-dolly-zoom shot aptly deployed), but Aja makes Piranha 3D its own lean, mean, pacy movie. The astonishing scale of the carnage at the lake party in particular is handled superbly, with impressive make-up effects, and there are some excellently-realised swift gore gags along the way. The poorly-rendered CG/3D effects in the opening scene are alarming initially, but thankfully this is the film's only major misfire. Leave your brain in the car park, sit back and enjoy the pure popcorn horror entertainment on offer here.

FILM: Salt (dir: Phillip Noyce, 2010)

"Oh, I believe in moles all right - but not the boogeyman!"

Re-tooling Salt for a female lead gives the film a slightly different resonance - and a strong actor like Angelina Jolie certainly carries it off very well - but essentially it is a standard implausible cat-and-mouse thriller that just about gets by on the power of its star. Tom Cruise should not have been too worried; Salt is more Jack Ryan (a character the director has put on-screen twice) than Ethan Hunt or Jason Bourne, although there are inevitable echoes of both franchises as well. The plot is straightforward to the point of feeling thin and somewhat empty, but the third act 'twists' are very well played, even though by that point the narrative has literally no place else to go. The action is TV-grade, with the exception of one unexpectedly jaw-dropping stunt in the first big car chase. Liev Schreiber and Chiwetel Ejiofor provide solid acting support as expected, and James Newton Howard provides an efficient score. The film gets more interesting as it progresses, and it is never less than good entertainment, but it is hard to see where the clearly-signposted sequel could go.

DVD: Nanny McPhee and The Big Bang (dir: Susannah White, 2010)

"Greetings, oh covered-in-poo people! Do you speak English?"

The Nanny McPhee sequel relocates to a golden-hued if rose-tinted wartime countryside, but overall the formula remains intact, retaining the original's whimsical charm and gentle fantasy. The slightly dark edge of the 2005 film is here replaced by a threatened sobriety of the impact of war which is quickly dissipated (also evident in Emma Thompson's less sinister performance), and occasionally the tweeness is pushed to the limit (synchronised piglet swimming, the children defusing an UXB). Maggie Gyllenhaal works well as the mother in this film needing Nanny McPhee's particular brand of help, with good turns from Maggie Smith and Bill Bailey. The sub-plot of brother-in-law Rhys Ifans being chased by Sinead Matthews and Katy Brand calling in bad debt is far less successful in characterisations and performances, but it does not detract from the overall success of the film. The child actors work well with some occasionally challenging material. A live-action children's film today that deals with real issues, a bit of history and promotes positive values may be a rarity, and to be this successfully entertaining even more so.

DVD: 2001 Maniacs - Field Of Screams (dir: Tim Sullivan, 2010)

"No reason vengeance can't be fun."

The DVD extras take great pains to point out that this sequel is a comedy made by fans of the horror genre, although the film demonstrates little success in either department. Instead of the Brigadoon-like town of Pleasant Valley providing the backdrop of the first film, the basic set-up of this micro-budget follow-up is 'The Simple Life' meets the Pleasant Valley 'Travelling Jamboree', so most of the action takes place in a traveller followed by a handful of tents in a field. The characters and acting are mostly unbearable, and whilst there may be a planet on which this kind of 'trash' dialogue is found funny, it certainly is not on mine. Some of the brief gore stunts are pulled off reasonably well, but there is no element of suspense or engagement for the audience whatsoever. Not even Robert Englund returns ('scheduling conflicts', apparently), but the cast does include Ahmed 'Jar Jar Binks' Best! 2001 Maniacs was a moderately successful and reasonably inventive formula horror flick - the same director's follow-up here is dire and almost on a par with Cabin Fever 2. The credits end with the threat of a threequel, which should drop the hopeless attempts at humour to stand a chance of being watchable.

DVD: Mega Piranha (dir: Eric Forsberg, 2010)

"I figured it out! It wasn't an explosion! It wasn't terrorists! It was giant piranha!.....Yes, sir, giant piranha!"

The Asylum's shameless low-rent exploitation knock-offs of major studio blockbusters are to be admired in the sense that committed film-makers actually get these films made against the considerable limitations of time, budget and resources, as shown in the DVD's surprisingly upfront 10-minutes 'Making Of' on the DVD. Although the products themselves are lacking significantly in many aspects, ambition is always evident, and Mega Piranha tries very hard indeed. There are some attractive location shots and competent chase sequences, with the repetitive structure of the film compensated for by its sheer energy. Pacing goes off-kilter in some poorly-edited dialogue scenes, and one glorious montage uses all manner of wipes and zooms which raises a smile. 80s pop-star Tiffany proves that she is no Debbie Gibson (similarly used in Mega Shark vs Giant Octopus), and the astonishing Paul Logan's acting is so tightly-focused on-screen that you fear he might explode at any moment. There is no real sense of terror generated by the film, and a lack of script polishing is very apparent, but in spite of the very low-end CGI, there are a lot of visually-imaginative shots attempted. You cannot fault the creativity behind seeing our hero fight off a shoal of killer fish with a knife or using his kickboxing skills on the leaping fish at the quayside. Mega Piranha is not up there with The Terminators, but it is a much more lively affair than Mega Shark vs Giant Octopus.

FILM: The Expendables (dir: Sylvester Stallone, 2010)

"I'm not perfect, but you should have waited - I was worth it."

The Expendables is enormous fun. This is the dream-team B-movie action star cast, but it is far from being an ensemble movie - this is very much Stallone's film, although Stallone and Statham play off each other extremely well throughout and Rourke scene-steals mercilessly as usual. It is neither a particularly creative nor original film, but Stallone directs capably and the script has some good moments of humour running through it. The fight/action set-pieces are fine, especially the final assault on the baddies' HQ which is ridiculously huge-scale and relentless, although the reliance on digital blood is very evident. The cinema audience showed clear delight at the already-legendary single scene containing the Holy Trinity of stars - Stallone, Willis and Schwarzenegger - but for me it was seeing Jet Li vs Dolph Lundgren that made the film (and also gave Lundgren the film's best line). The Expendables is the kind of solid, crazy action B-movie that we have not seen in cinemas for a long time and which makes a welcome return here.

FILM: The Sorcerer's Apprentice (dir: Jon Turteltaub, 2010)

"Once you enter there is no...going...back..."
"So I should probably pee first?"

The Sorcerer's Apprentice is a refreshingly pacy, tightly-scripted children's fantasy adventure. After two weighty, exposition-heavy prologues, the story and action unfold in an efficient and energetic manner that is consistently engaging. Jay Baruchel (the new Justin Long) gives another likable performance as the hapless apprentice, Nicolas Cage and Alfred Molina are terrific as the warring sorcerers, and underused Brit Toby Kebbell ("Are you in Depeche Mode?") makes a good impression in limited screen time. The almost-redundant romantic sub-plot seems shoehorned in to provide a female presence in the film; indeed, the few female characters who appear briefly are limply blonde/weak/evil. The excellent high-end CG effects here service the narrative in a natural way, most notably in the impressive Chinatown and car-chase sequences. The riffs on the Fantasia-inspired material work well, but this movie stands up in its own right. The Sorcerer's Apprentice is well-crafted, expertly performed and visually very satisfying to watch, and is one of this year's better films aimed at the younger audience.

FILM: The Last Airbender 3D (dir: M. Night Shyamalan, 2010)

"He had his chance. He missed it."

At least it's not The Happening - well, not quite. There is clear potential for an exciting children's action/adventure fantasy film to be made from this material, but M. Night Shyamalan's inert take on The Last Airbender is certainly not it. As director and writer, Shyamalan has to shoulder responsibility for the clumsy and careless script, rendered completely lifeless by the portentous and relentless one-note delivery by virtually the entire cast. Dev Patel stands out with a spirited performance as the Fire Lord's banished son, but the young cast members struggle to give the material conviction. James Newton Howard provides an expansive, stirring score that feels detached from the ponderous and low-key style of the on-screen action. There are some good-looking model/CG visuals augmenting the location work, but the very poor Clash Of The Titans-style 3D post-conversion is at best distracting and at worst an outright failure. There are only so many defocused backgrounds an audience can take, especially in one unforgivably composed duologue scene that is staggeringly poor on screen. The Last Airbender is a long, dull film, and the threatened trilogy structure (this is 'Book 1', with a very sudden open ending) does it no favours, a second film looking unlikely and - on this evidence - unappealing.

FILM: Knight and Day (dir: James Mangold, 2010)

"This is weird."

Knight and Day is a big, daft, enjoyable old-school romantic thriller, complete with 'exotic' locations, a MacGuffin and the use of truth serum!
The film is carried by the committed professionalism of Cruise and Diaz and their seemingly effortless charm, with surprisingly strong support from the likes of Marc Blucas, Viola Davis and Paul Dano in relatively minor but notable roles. John Powell's excellent score would not be out of place in a much more deliberate (and 'cool') thriller. There is some lively (and authentic-looking) stunt work, and whilst the film clearly has no idea whether it wants to be a frothy caper or a serious thriller, its breezy disregard for gaping plot-holes makes Knight and Day an entertaining romp overall.

FILM: The A-Team (dir: Joe Carnahan, 2010)

"Cash don't buy you guts, kid, or brains - and you're short on both."

It is unfortunate that the critics have given this movie such as harsh kicking, as it is simply a Summer popcorn-action-blockbuster that is as shallow and simple as the original TV show - nothing more - and relentlessly entertaining. It is curiously similar to The Losers, but far more enjoyable. Carnahan directs as if this is Smokin' Aces for children, keeping the screen busy to the point of hysteria, with editing so frantic that it can render even some action sequences numbing. The big set-pieces are jaw-dropping and mind-bogglingly stupid, and the bare-bones script is utterly forgettable; having been stuck in Development Hell for years, The A-Team movie perhaps needed Carnahan's manic approach to paper over the thin material and concept. The four leads work together easily: Liam Neeson grounds the movie with a serious and considered turn as Hannibal; Bradley Cooper's 'Faceman' (who should be renamed 'Shirtlessman' in this movie) is uneven but has more depth than the original incarnation; Quinton 'Rampage' Jackson unsurprisingly lacks Mr T's screen presence as B.A. Baracus but works the comedy well; and Sharlto Copley is clearly having a ball as Murdock. Make no mistake, this is very much a boys' film - the female of the species is not well served here. There are moments when the humour shines (notably a 3D gag that is so obvious but very well executed) and the basic thriller plot engages, but the breathless race to get to the next big set-up gives the film - and the audience - no time to breathe. The A-Team provides an undemanding but disposable couple of hours' entertainment, and the nicely-set-up sequel - if it happens - could deliver more of the same.

FILM: Splice (dir: Vincenzo Natali, 2010)

"Was this ever about science?"

This is a fairly standard but strongly-realised Dark Castle production: effective, entertaining, daft and straining with ambition beyond its budget. In spite of plot-holes the size of Belgium, the narrative is taut and keeps its momentum. Splice is essentially Species for the genetic-engineering generation - with some inevitable visual nods to Alien - until it bizarrely decides to turn into Jeepers Creepers in the final reel. Adrien Brody and Sara Polley (here unnervingly similar to Julianne Moore) provide serious strength to the lead couple, from their early effortless chemistry to the later extremes when their experiment (and relationship) unravel spectacularly. Dren, the creature born in the lab, is convincingly and sympathetically realised on-screen, the accelerated maturation taking us and its scientist 'parents' through recognisable human stages of development, but different enough hold a curious fascination; indeed, one scene drew a collective gasp from the audience in its shocking treatment of the creature. Natali directs with the expected visual flair and precision, and whilst the film's internal structure means that the story holds no real surprises, Splice is a surprisingly thoughtful and well-staged movie.

FILM: Toy Story 3 in 3D (dir: Lee Unkrich, 2010)

"Thanks, guys."

Pixar has raised the bar yet again. Toy Story 3 is so much more than just another CG-3D movie; it stands as a genuine Hollywood film in its own right. From the wild fantasy Wild West opening ("Evil Doctor Pork Chop!") to the inevitable heartbreaking bittersweet ending, director Lee Unkrich gives the narrative relentless drive, energy and invention that never lets up and shames the vast majority of Hollywood product, animated or otherwise. It is hard to believe that the groundbreaking original was released 15 years ago, and the 2010 threequel fits seamlessly into the trilogy. What is evident is the huge leaps forward taken by GC animation in that period, most notably when comparing the outdoor/street scenes which here show a huge amount of detailing, depth and naturalism (even the bricks on the house walls impress!). The mixture of sadness (hinted at early on with Woody's explanation of what happened to the 'missing' toys in the intervening years) and hilarity blends seamlessly in this densely-packed and lovingly-crafted movie. The ending doesn't so much tug at the heartstrings as wrench them mercilessly, so sit and watch the funny additional scenes that play as a postscript beside the end credits to give yourself a moment to recover! I hope Pixar stay true to their word and leave the movie franchise here; Toy Story 3 is the perfect and fitting end to this wonderful story.

FILM: Twilight - Eclipse (dir: David Slade, 2010)

"I'm tired of all this! From now on, I'm Switzerland, OK?"

Eclipse is a big leap forward for the Twilight franchise. David Slade gets much more watchable performances from all of the core cast this time round, Bryce Dallas Howard makes a suitably demented replacement Victoria, and Xavier Samuel has effective presence as the leader of the newborn vampire army. The uneasy alliance between the Cullens and the werewolves provides interest, and the final showdowns work well on screen. There is less silly dialogue than in the previous two films, but the love triangle scenes still strike as bland (and occasionally over-written) rather than genuinely heartfelt. The film still falls short of the epic quality that it seems to strive for (an undead army built up over a year of about... twenty?), and the romance scenes continue to look and feel like a TV-movie. The thriller elements of this episode work nicely, and overall Eclipse feels like a much more mature piece in almost every respect. One mystery remains, however: why on earth do Edward and Jacob both get so worked up over Bella, undoubtedly one of the dullest female characters ever created?

FILM: Inception (dir: Christopher Nolan, 2010)

"Choose to be here."

Inception is the intelligent blockbuster that everyone hoped it would be, a smart, tightly-structured, beautifully-crafted movie that delivers in every aspect. Christopher Nolan directs his long-gestating project with total clarity and precision of vision from the outset, the globe-trotting narrative providing a varied visual feast and the careful construction giving the film a strong emotional pay-off. Reasonably close timing of release may show character similarities between this film and Shutter Island for Leonardo DiCaprio, and here he gives another superb performance, ably backed up by a uniformly strong cast including the excellent Joseph Gordon-Levitt, Tom Hardy and Cillian Murphy. At times, this movie reminds us of the ongoing influence on the genre of Blade Runner and The Matrix, but Inception pulls off some stunningly original and occasionally breathtaking sequences. The narrative will completely puzzle the Friday-night popcorn crowd, but the film's internal logic does work and provides a consistently engaging story. The only slight disappointment was how completely predictable the ending turned out to be, even the final shot of the movie! Overall, Inception is an absolute triumph and a very rewarding film.

FILM: Predators (dir: Nimrod Antal, 2010)

"If you could do it over again, would you still make the same choice?"

Fox and Robert Rodriguez are pushing Predators as the real sequel to the 1987 original (although I never had much of a problem with Predator 2, to be honest), and this fan-letter to John McTiernan's film shows many echoes, in characterisation, (slightly dated) style and basic narrative set-ups. Predators is a solid sci-fi actioner, attractively if unadventurously directed, with a well-structured narrative, fairly dull (and mostly humourless) dialogue and some effectively-paced action - as hoped for, the Predator attacks are mostly swift and brutal, even if these Predators seem quite easy to kill, whether the original version or the new sub-species. The cast is diverse and mostly committed, even if their default expression seems to be mild puzzlement throughout. Adrien Brody and Alice Braga serve the film well as the nominal leads, and in the stereotypically underwritten supporting cast Topher Grace does some good work, apart from an appalling narrative mis-step with his character towards the end that almost derails the film and gives rise to a few lines of astonishingly bad dialogue. Kudos to Laurence Fishburne for his brief but nicely-judged turn. The decision to keep mainly to physical action and effects works in the film's favour, with sparingly-used CGI looking good. Predators is entertaining, interesting rather than thrilling, and serves its purpose in putting the Predators back in cinemas in their own right. Now it's over to Ridley Scott to do the same with the Alien prequels.....

FILM: Get Him To The Greek (dir: Nicholas Stoller, 2010)

"Keep stroking the wall!"

The trailer sold the film as a typical gross-out comedy, but Get Him To The Greek is a surprisingly sweet-natured and almost gentle buddy movie which is consistently enjoyable. Jonah Hill and Russell Brand are fine, carrying the film as the mis-matched protagonists both in comedic and more serious moments, aided by a number of well-delivered and precisely-drawn supporting characters. The cutaways (notably the brief 'Sarah Marshall' nod), celebrity cameos (even Lars Ulrich from Metallica!), lively soundtrack and numerous one-liners all hit the mark in an energetic narrative, the overall story arc providing no surprises but the journey is very engaging and entertaining.

FILM: Shrek Forever After 3D (dir: Mike Mitchell, 2010)

"How's that for a metaphysical paradox?"

The fourth and allegedly 'final' chapter in the Shrek movie franchise addresses a lot of the faults with the bloated and lacklustre third entry, creating a surprisingly low-key and effective return to form. This is not, however, a relentless children's animated comedy. Shrek Forever After has a fairly simple and limited plot, which lends itself to a tightly-constructed and focused narrative with real emphasis on drama and character. The breezy, irreverent inventiveness of the first two films is replaced here with a more thoughtful and mature consideration of the nature of responsibility and appreciating what one has in life - like Shrek himself, this movie franchise has had to move on and grow up. The laughs are definitely there, as usual largely from Eddie Murphy's ever-energetic Donkey and the film-stealing Gingerbread Man, and the visual gags are often spot on. The 3D rendering of the characters is impressive, and the action set-pieces (mostly involving flying - the witches, Dragon) provide good eye candy. The 'alternative universe' reinvention of the first movie never feels lazy or forced, and by re-setting the characters and their relationships, the leads are given plenty to do both in terms of narrative and emotion, making Shrek Forever After a satisfying conclusion to the series.

FILM: MacGruber (dir: Jorma Taccome, 2010)

"Call 911! Call 911!"

This is Airplane! without the laughs, Garth Marenghis's Darkplace without the wit and understanding; MacGruber the movie is a genuine test of the audience's patience. This is another Saturday Night Live sketch stretched far too thinly for a full-length feature, as its poor US opening demonstrated. The premise (and the reasonably promising trailer) suggested it had something to offer, sending up the 80s teatime-staple TV show MacGyver, but like MacGruber's improvised tennis-ball-grenade in the film, it falls completely flat and is ineffective throughout. Val Kilmer turns in a non-performance as villain Dieter Von Cunth, and in contrast Will Forte gives a desperate and unappealing performance as MacGruber, using Will Ferrell-style over-emoting and grimacing as a substitute for real comedy and timing. Kristen Wiig has the character with perhaps most comedic potential, the dizzy blonde mistress of hopeless disguise Vicki St. Elmo, and she battles valiantly with a lightweight script and little opportunity to develop the role with limited success. Surprisingly, the film's strongest and most effective performances come from Powers Boothe and Ryan Phillippe as the 'straight men', which says it all about this empty and ultimately very weak comedy,which does not quite plumb the depths of Meet The Spartans, but comes perilously close.