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.