FILM: Jack Reacher (dir: Christopher McQuarrie, 2012)

"I'm not a hero.  I'm a drifter with nothing to lose."

It really does not matter that Cruise is notably shorter and less blond than the novel's eponymous hero, as he takes on the character of the man and gives a polished, detailed and engaging performance throughout.  The eclectic cast delivers a number of terrific performances: David Oyelowo, Richard Jenkins,
Robert Duvall, Jai Courtney and even Werner Herzog are all fine,  and Rosamund Pike proves to be an excellent foil for Cruise in their many dialogue-heavy scenes as the lawyer unwittingly drawn into a bigger picture. The story unfolds in a well-constructed way that joins the dots and provides few surprises, but the quick-fire dialogue and interesting characters maintain the momentum.  The action and violence is used sparingly but very effectively, and wry humour at often unexpected moments is very enjoyable - the attack on Reacher by two goons in a tiny bathroom is possibly one of the funniest scenes this year. Cinematography is terrific, and director McQuarrie marshals all the elements to great effect.  Jack Reacher is a hugely entertaining movie and a great introduction to the character on screen, whose future return would be very welcome on this evidence.

FILM: Parental Guidance (dir: Andy Fickman, 2012)

"There's no cure for dumb."

Parental Guidance makes a late bid for the 'weakest comedy of 2012' award, yet it does not even come close to the true horror that was Jack and Jill.  The central conceit is so contrived it would make the average rom-com blush and therefore the characters and set-up do not ring true, and the actors - especially the adults - flail helplessly for the most part with largely lacklustre dialogue and underwhelmingly predictable situations.  It is good to see actors like Tomei, Crystal and Midler back on the big screen, but not like this.  Interest flags long before the end of this made-for-TV-movie-level material.

FILM: The Life Of Pi 3D (dir: Ang Lee, 2012)

"It moved with the slow, massive confidence of a continent."

Sometimes, it seems that all it takes is for a film-maker to get to the heart of a story to make it work on film, and after a decade The Life Of Pi certainly found its cinematic home with Ang Lee. It is in many ways typical Ang Lee: seemingly slight but profound, classic old-school storytelling with complete control and confidence, and now and again an unexpected visual conceit to take your breath away. All the elements work together so well, it is mounted ambitiously, CGI work competes with Hollywood's best (the only quibble being the orang utan which needed a bit more work), and Suraj Sharma in his first role as the teenage Pi is hugely engaging.  The Life Of Pi is accomplished, entrancing and at its conclusion immensely satisfying.

FILM: The Hobbit - An Unexpected Journey 3D IMAX (dir: Peter Jackson, 2012)

"Plans change."

This Tolkien remix is grand mythical storytelling, if somewhat leisurely and wayward at times in its need to turn the book into (now) a trilogy of films.  Technically it is simply stunning - sound and visuals are quite sublime.  New Zealand again proves to be a huge asset, but perhaps this time casting is even more crucial and successful than the Rings films, with both old (returning characters and actors are a delight, especially Gollum) and new - the band of dwarfs is spot on, convincing and entertaining, and Martin Freeman does quite superb work as Bilbo.  The script has more lighter touches and humour than the Rings trilogy, but the film is still quite dark and visceral.  Peter Jackson's visual imagination and creative control as director is self-evident and unquestionable here.  As for the 48fps debate: it does take a bit of adjusting to, the image is astonishingly clear (James Cameron's notion that 'the window pane is removed' is correct) in interior/studio-shot scenes, but some exteriors appear over-bright or too high-contrast.  Motion blur is definitely still evident in 3D, however.  It will be interesting to see how story and structure play out over the two remaining films, but An Unexpected Journey is hugely enjoyable and supremely well-made. 

FILM: Nativity 2 - Danger In The Manger (dir: Debbie Isitt, 2012)

"Babies don't need helmets - they bounce!"

Bear with it.  It just goes to show what you can get away with when you mix cute kids, Christmas and a very well-chosen soundtrack.  The opening third of this sequel is sadly alarming, a weak retread of the first movie that is just about a cut above children's TV.  However, just as the original movie required an increasing suspension of disbelief,  with gleeful abandon Nativity 2 throws narrative logic right out of the window and becomes a lot more entertaining once the 'road trip' element to the Song For Christmas competition begins.  David Tennant is good value here, the kids are fun, a strong Brit supporting cast works well - Jessica Hynes does another fun caricature (here a Welsh singing diva) - and whilst the film feels like it goes on for a very long time, it is never less than pleasantly entertaining, and it packs in a surprising number of songs that do not grate too much.  Predictable, sentimental, quite enjoyable - yes, it's Christmas!

FILM: Skyfall IMAX (dir: Sam Mendes, 2012)

"Less of a random killing machine, more of a personal statement."

They got it right - the 50th anniversary 007 movie is a near-perfect meeting of classic Bond (and there are some lovely fan-pleasing moments) with modern audience expectations.  Skyfall is a cool, crisp, cleanly-executed production, very much rooted in the present and placing the characters in contemporary settings and situations.  The relatively simple narrative is bolstered by a very sharp script and two knockout performances by Craig and Dench - by making the stakes personal, both actors are able to give the characters more depth and openness than Quantum Of Solace could ever allow. Supporting cast is strong, especially Naomie Harris as agent Eve and Ben Whishaw as a spot-on 21st Century Q.  The settings are used to their fullest: London is grey,cold and wet with melancholy, whilst Shanghai provides a neon-drenched night-time backdrop to just one of the terrific set-pieces, all of which are executed superbly.  Editing, scripting and cinematography are all placed in successful, experienced hands, and Sam Mendes proves that more than a great action director is required in order to make a truly great action film.  Mendes clearly is an actors' director which is truly evident here, although at times his trademark pacing proves a little too controlled.  Javier Bardem makes his mark as a memorable Bond villain from the first time he appears and speaks (over an hour into the film!), providing a genuine threat to Bond, M and the wider picture.  The ending makes a delightful job of setting up the future of the franchise, but Skyfall is to be commended not only for being a fitting tribute to the last 50 years but also as a fine film in its own right.

FILM: Rise Of The Guardians 3D (dir: Peter Ramsey, 2012)

"I hope you like carrots."

Rise Of The Guardians is not turning out to be the holiday season blockbuster that Dreamworks hoped for, and the film itself is pleasant enough but not without problems.  There are many delightful ideas on offer - both conceptual and visual - but the inconsistencies in haphazard tone and plotting make it difficult to engage with the film fully.  (Indeed, if you want to go plothole-ing, this film is a gift).  The main voice cast is good, although Chris Pine sounds a little too old for Jack Frost as presented on screen, and Jude Law makes for a slightly soft villain.  The elves seemed to be set up in the trailer as this film's equivalent of Despicable Me's wonderful minions, yet they have very little to do across the running time.  Overall, Rise Of The Guardians is passable but uneven entertainment.

FILM: Resident Evil - Retribution IMAX 3D (dir: Paul W.S. Anderson, 2012)

"I'm coming for you!"
"Good luck with that."

This fifth entry follows on directly from the previous franchise top-earning film, and at this point the series serves two main functions - to provide nifty cool (3D) visuals and to show Milla Jovovich kicking butt, and Retribution definitely delivers on both these counts.  It is also a series for the fans, as the ongoing narrative and returning characters (some previously dead, others with shifting motivations) are all but impenetrable unless you have been with the franchise from the start, and there are some neat twists provided in both of these aspects.  However, at this film's heart is a painfully simple mission, with an attempt at added Aliens-style Ripley/Newt emotional heft which never really gains traction, and the set pieces often feel somewhat skimpy and glossed over.  The Red Queen never feels as menacing as in the first entry, and indeed Alice is so invulnerable to whatever she faces that there is never any real sense of danger. Anderson has grown more effective and efficient as a director as time has passed - particularly evident in the final ice-bound showdown - and he pulls off a couple of very effective beats, but this Resident Evil Greatest Hits feels very familiar and perhaps makes less impact than previous entries.

FILM: Looper (dir: Rian Johnson, 2012)

"Aren't you a smart monkey?"

It is rare that you get to the end of a movie and feel very satisfied as the credits start to roll, and Looper provides that feeling.  It is a smart and utterly absorbing film, which cleverly revisits classic genre tropes (seen in films such as The Terminator, Blade Runner and even Scanners all notably present) but then weaves them into a tale which is at the same time refreshingly told, creatively put on screen and shows such attention to small details that it is a delight to watch.  The first half is the breathless sci-fi action-thriller set mostly in a recognisable near-future that truly delivers on all that the trailers promised, which then gives way to a surprisingly intimate and effective drama that pays off wonderfully on all the preceding setting up.  To put it simply: Gordon-Levitt, Willis and Blunt are all terrific in the lead roles, director Rian Johnson is clearly one to watch, and Looper is easily one of the best films of 2012.

FILM: The Campaign (dir: Jay Roach, 2012)

"You look like Richard Simmons just crapped out a god-damn hobbit!"

The Campaign pretty much delivers on its trailer as a fairly standard middle-aged American comedy with a few more laughs than most of its type.  Ferrell delivers an effortless but predictable performance, and Galifiniakis creates a surprisingly strong character as the initially fey and hopeless political rival. Support is strong: Dylan McDermott and Jason Sudeikis both work well as the two campaign managers, and particularly effective are Sarah Baker and Katherine LaNasa as the two contrasting wives.  The satire is weak and the humour blunt, but The Campaign contains enough silliness and simple laughs to keep it on the right side of enjoyable.

FILM: Tower Block (dirs: James Nunn and Ronnie Thompson, 2012)

"DO YOU HEAR ME?"
"I think they can hear you in Australia, love."

This latest entry into 2012's high-rise genre collection is an unexpectedly neat, taut micro-budget British thriller.  The idea is simple and very effective - the remaining residents on the top floor of a tower block are picked off by a mystery sniper over a weekend - but this tight bottle concept also means that the plotting has very few places to go.  Direction is confident and frequently interesting, editing is tight, and the simplistic synth score succeeds in a retro fashion.  Although the residents are a predictable bunch of stereotypes, the cast is strong, with particularly good performances by the younger actors such as Jack O'Connell, Russell Tovey (successfully restrained here as a lonely alcoholic) and Sheridan Smith (who gives good Ripley).  From the teaser and the opening sniper attack, which is superbly handled, Tower Block does more than enough to maintain interest throughout.

FILM: House At The End Of The Street (dir: Mark Tonderai, 2012)

"Sometimes people can't be fixed."

House At The End Of The Street has wafer-thin plotting, sketchily-drawn characters and a tendency to inadvertently veer closely towards parody, making this a largely tedious and drawn-out watch. The film's two saving graces are the big plot twist that sets up the third act (which, whilst neither entirely unexpected nor original, does work) and a nicely-drawn performance by Max Thieriot. Apart from a handful of jumpy moments created by loud stings with lunges into frame, there is a notable lack of tension throughout, largely owing the very obvious set-ups and Idiot Plot running riot.  If it weren't for the marquee value of Jennifer Lawrence, this very weak film would struggle to crawl onto DVD, let alone cinema screens.

FILM: Premium Rush (dir: David Koepp, 2012)

"Have a nice day, douchebag!"

Premium Rush is a hugely enjoyable and utterly daft high-concept movie.  A mean-spirited viewer might see this film as ninety minutes of watching Joseph Gordon-Levitt pedalling furiously around New York, but the visual and narrative conceits keep the action flowing wonderfully, tension is maintained throughout - both from the main plot and the inevitable wince-inducing accidents that the bikers suffer at times - and to watch the couriers taking on brutal New York traffic is compelling.  As an actor, Gordon-Levitt could sell any situation, and here he is effortlessly engaging and on-screen most of the time, and the supporting cast are all good within their rather limited stereotyped characters.  The resolution of the story holds a surprising but satisfying turn of tone, and overall Premium Rush delivers a well-staged and very entertaining light action-thriller.

FILM: ParaNorman 3D (dirs: Sam Fell and Chris Butler, 2012)

"Don't make me throw this hummus!  It's spicy!"

There are enough mild thrills and chuckles to make ParaNorman a pleasant, enjoyable but very gentle children's movie. Released a little early for Halloween, this stop-motion tale begins as a well-realised look at high school alienation as Norman - he sees and speaks to 'dead people' - is isolated at both school and home for his unusual ability, but then his importance in relation to the town's witch-curse sets him and the story off on a predictable but effective journey.  Design has a detailed and interestingly grimy and worn look - notice how Norman's facial features and even his locker door are a bit off-kilter - but the low-key colour palette means that the 3D does not always 'pop' as it could.  There are plenty of nods to classic horror films old and new (even Norman's ringtone cannot help but raise a knowing smile), the supporting characters are endearingly silly, and there is sufficient craft and invention on show to keep all ages engaged.  It was interesting to note that children in the audience were audibly scared when Norman creeps through a spooky house, yet they laughed out loud later in the same scene when a corpse was knocked about for comedic effect.  Could there be a better way to introduce the young to the joys of the horror genre?

FILM: The Sweeney (dir: Nick Love, 2012)

"World's running out of men like you, Jack."

This update of TV's old cops show is unexpectedly very enjoyable and holds a few surprises.  The uneasy marriage of old and new-style policing works very well here, and whilst the actual plot and scenarios are completely generic, there are sufficient twists to make the story interesting and which enable the final third of the film to have unexpected emotional heft.  This feels like a Nick Love film, but The Sweeney is by far his most consistent, coherent and enjoyable directorial piece yet.  Ray Winstone is absolutely superb as Regan in an immensely magnetic and considered performance, with Ben Drew providing strong support (and improving as the stakes are raised) in the Carter role.  Indeed, a powerful (and recognisable) British cast gives the film considerable backbone, the action is well-handled, autumnal London looks Olympics-beautiful, and apart from the decidedly unglamourous setting of the final chase/shootout, when the TV show's theme tune inevitably powers in over the end credits, the film finishes on a real note of triumph.  This is a successful update, making The Sweeney 2012 a good, solid action-thriller overall.

FILM: Hope Springs (dir: David Frankel, 2012)

"I'm so glad you're here."
"Well, that makes one of us."

Hope Springs is slightly slower than it needs to be, but this featherweight dramedy would probably have passed by unnoticed if not for the wonderful performances by the two leads.  As the 31-years-married passionless couple who go on an intensive marriage counselling holiday, Meryl Streep is a constant delight to watch, and Tommy Lee Jones - rapidly transforming into Walter Matthau - gives his best performance in ages, with Steve Carell adequate in the anonymous straight-man therapist role.  It ranges from mildly amusing to laugh-out-loud, but the film firmly delivers on portraying the empty routines of a long-lasting but withering relationship.  It is remarkable to see what the actors create from the paper-thin characters, and in terms of targeting the more mature cinemagoing audience it is largely successful, making Hope Springs a very pleasant but unsurprising viewing experience.

FILM: Dredd 3D (dir: Pete Travis, 2012)

"FREEZE!"
"Why?"

First, the elephant in the room: the near-identical plotting that Dredd shares with The Raid draws unfortunate comparisons but does not mean that Dredd is a bad film in its own right.  The 2012 incarnation is much more enjoyable than Danny Cannon's 90s version - mercifully, no Rob Schneider here - and presents a well-realised, gritty and grimy dystopian Mega City One, with Karl Urban's mask-covered reading of Dredd himself coming across as more grounded, intense and single-minded, and more in line with the 2000 A.D. version.  This is a full-blooded sci-fi-actioner, with the slo-mo conceit of the narrative's addictive drug providing opportunities for some inventive 3D splatter, and the CG effects work is generally strong throughout for a mid-budget film.  Direction is effective, and the noisy score works well, but the straightforward procession of narrative does little more than tick story boxes, however, and the lack of surprise or real threat flattens the film somewhat, although Lena Headey provides the film with a coldly powerful villain.  Without the sheer visceral power and poetry and the emotional clout of The Raid, Dredd 3D is a solid, effective but slightly unmemorable movie.

DVD: [REC] 3 - Genesis (dir: Paco Plaza, 2012)

"This is MY day!"

The opening fifteen minutes - a regular family wedding - works well in the signature shaky-cam style (if a little long-winded), and then the splatter really hits the fan as the film turns into a stylistic 'anti-[REC]' (a deliberate decision revealed in the extras).  In an about-turn for the series, this third instalment then becomes a very deliberately-lit, conventionally-edited 80s European horror throwback with a deliriously melodramatic music score, which offers some deliciously daft moments but offers little that is new in the genre.  The leads are enjoyable to watch, and this is an effectively-made film, but tonally it really is hard to tell at times if this is an affectionate homage or a nicely-knowing spoof.  At a scant 75 minutes, [REC] 3 packs in a lot of narrative manoeuvres and is an enjoyable watch for horror fans, but the subtle parallel links with the action of the first two movies merely serve as a reminder of the power of its predecessors.

FILM: A Few Best Men (dir: Stephan Elliot, 2012)

"I thought it would be funny at the time."

This Brit/Oz-hybrid is a simple-minded attempt at The Hangover market that comes too late to offer anything original, and the juvenile level of humour and dialogue hits the mark only occasionally.  Xavier Samuel makes a well-meaning but bland lead as the groom, with odd support from his Brit best friends: Kris Marshall is disappointingly flat, and Kevin Bishop at times appears to be creating a spoof character from one of his TV shows.  The big surprise is that the female characters are so under-written, suggesting that the target demographic is clearly undiscerning teenage boys.  There are some pleasures to be found - a soundtrack of pop-tastic 70s/80s covers (but really: Rock and Roll Part 2?), and a very game Olivia Newton-John giving it all as the mother-in-law high on coke - but overall this is very thin and patience-testing comedy indeed.

FILM: The Possession (dir: Ole Bornedal, 2012)

"Are you scared?"
"No."

With little to offer that is not glimpsed in the trailer, apart from a fairly perfunctory exorcism at the end, The Possession is heavy on style but light on shocks or horror.  The film sits comfortably with the 'golden age' of possession/evil spirit thrillers from the 70s and early 80s - notably The Omen, The Entity and even Poltergeist - to the extent that it treads a very well-worn narrative path that offers no real surprises.  Making the evil spirit part of the Jewish tradition does not change the possession-subgenre tropes that are trudged through here, and there is even a nod to Paranormal Activity's episodic structure through cut-off sound giving way to a single piano note to set up the next event.  Performances are variable: Jeffrey Dean Morgan gives the father genuine grounding and gravitas; Kyra Sedgwick's take on the mother is unusually overwrought here; the younger (and ultimately possessed) sister is effective, but the older sister is painfully blank.  The film ends up being more of a sombre divorce-by-numbers melodrama rather than the shock-fest that it has been marketed as, worthily constructed but not too exciting to watch.

FILM: Total Recall IMAX (dir: Len Wiseman, 2012)

"What could be better than a double agent who doesn't know that's what he is?"

The Arnie/Verhoeven 1990 film was very much a product of its time and of its star and director - a gaudy, cheesy, colourful cartoon - and Len Wiseman's 2012 version is a hugely entertaining action/sci-fi romp for very different reasons.  The almost non-stop action is frantic and very well-handled, whilst dialogue is not the film's strongest area, with what little there is frequently sounding rather stilted.  The visual scale, ambition and detail is extremely impressive, creating an expansive dystopian world and some striking visual ideas and set-pieces.  Placing an actor as nuanced and thoughtful as Colin Farrell in the Doug Quaid role was a smart move, as he handles the action well and fills in the dialogue gaps most effectively. Kate Beckinsale chews the scenery enthusiastically as the 'wife', but all the other characters are given very little screen time or development.  The decision not to go to Mars in this version is no loss, as the central conceit works just as well in this visually-rich Earthbound environment.  Total Recall 2012 is not a profound meditation on reality and the mind, but as huge-scale popcorn entertainment it works just fine.

FILM: The Three Stooges (dirs: Bobby and Peter Farrelly, 2012)

"How could this possibly get any worse?"

The youngest children in the audience chuckled often at the slapstick, but for anyone else this is a surprisingly thin and repetitive film.  The three leads try very hard, and a couple of set-piece routines come off very well, but the transplanting of the Stooges into the modern world is sadly underused and the slim plot lacks any power to engage. The intention of creating a live-action cartoon complete with appropriate sound effects is consistent but the result in the real-world field of action often comes across as mean-spirited or simply pain-inflicting.  Curiously, a brief section of the trio as ten-year-olds at the orphanage seems to create the most successful tone, but as a whole the film disappoints.

FILM: The Watch (dir: Akiva Schaffer, 2012)

REVIEW No. 300!

"Touch my goo, Bob!"

The Watch is a very tepid sci-fi comedy.  The humour is mostly lacklustre, and the dramatic elements are too lightweight and an uncomfortable fit to the movie.  The film does sporadically come to life - the quartet's gleeful playing with the 'destruction ray' ball is a good example - but there are many stretches during which the story does not advance or scenes simply feel overstretched and not very interesting.  Stiller, Vaughn and Hill give their usual stock character performances, whilst Ayoade is given little with which to work - the four leads seldom spark off each other, unlike the camaraderie of the Ghostbusters team, and it is hard to imagine that Stiller's character would tolerate the other three in his life at all.  A surprisingly lively (if brief) finale is very welcome, but overall The Watch barely bumps along as average.

FILM: The Expendables 2 (dir: Simon West, 2012)

"A little extreme...but nice...."

In critical terms, The Expendables 2 is not a 'good' movie - but it is designed purely as a crowd-pleaser, and on those terms it delivers very well indeed.  The formula of the original film's Antiques Roadshow of 80s action stars is repeated here, but the second time round it is bigger, dafter and more enjoyably outrageous, largely thanks to Simon West giving one of his most directorially-consistent shows.  The deftly linear plot barely pauses for thought (any explanation of Chuck Norris's team-saving appearance would be interesting, for example) yet the daftness inherent in the whole enterprise is simply part of its fun.  The terrific opening rescue sequence is breathlessly deployed and, apart from occasional madly unexpected moments, the other big set pieces in the film cannot quite match up to it.  Dialogue is not expected to be a strong point, and the self-referencing is annoying rather than funny (variations on 'I'll be back' and 'terminated' in particular), but some dialogue scenes seem almost unfinished and simply grind to a halt.  Statham is the stand-out here (he does this kind of material so well), Van Damme proves to be a surprisingly strong addition as does Hemsworth Jnr,  Lundgren as comic relief (!) is a bonus, and in his disappointingly brief screen time, seeing Jet Li armed only with a frying pan take out half-a-dozen villains is beyond joy.  The Expendables 2 is great silly low-rent action fun, and a third spin around the block would not be unwelcome.

FILM: Brave 3D (dirs: Brenda Chapman and Mark Andrews, 2012)

"Something's not right."

Brave has all the hallmarks of Pixar - stunning to look at, great characterisation, a big moral centre (listen to and love your parents, kids!) and a finely-realised theatre of action - but somehow it never seems to quite engage or interest in the way that the studio's best films achieve.  The feisty teenage princess Merida, superbly voiced by Kelly MacDonald, is a great central character, but the peculiar path that the story takes with regards to the Queen does not quite gel with the lively and beautifully-drawn vision of ancient Scotland that is established.  There is a lot to admire and enjoy in Brave, but in the Pixar league this is a middle-ranker.

FILM: The Bourne Legacy (dir: Tony Gilroy, 2012)

"Is that it?  Is that all there is?"

The first half of The Bourne Legacy is uncomfortably dull, with three fundamental difficulties: the exposition-filled dialogue is uninteresting; the characters do very little; and the attempt at the Bourne style does not sit well with the scenarios on offer.  Jeremy Renner and Rachel Weisz are two fine actors, and once circumstances throw them together, the lead characters find a sense of purpose and the actors visibly play off each other very well.  The action in the second half of the film works effectively, especially the final chase through Manila, if not quite matching up to the previous films in the franchise, James Newton Howard provides a strong and interesting music score, and the sideways linking to the Matt Damon films is done nicely throughout.  The film would have benefited from less tortuous setting up at the start, as once it gets going The Bourne Legacy is a solid action thriller.

FILM: Diary Of A Wimpy Kid - Dog Days (dir: David Bowers, 2012)

"It's...amusing."

The third entry in the Wimpy Kid franchise respects its (young) target audience by maintaining quality and providing solid, consistent and innocuous entertainment.  A key factor in the success of the series is maintaining its key core cast members who clearly enjoy and care about what they are doing.  From the slick opening pre-titles barrage of well-mounted gags, carefully set-up gags pay off nicely both long-term and short-term, and whilst it lacks the cohesion, focus and silliness of the previous entry, Dog Days certainly delivers its gentle, well-crafted humour most effectively.

FILM: Ted (dir: Seth Macfarlane, 2012)

"LOOK WHAT JESUS DID!  LOOK WHAT JESUS DID!  LOOK WHAT JESUS DID!"

It is good news:  Ted more than delivers on its terrific trailers.  For all its stoner/bodily functions gags, Ted is an extremely smart movie in its conception and writing, cleverly hitting its audience sectors squarely and successfully: a buddy/slacker movie for the guys, superior rom-com for the ladies, a slew of wonderfully-chosen 80s references for that generation, and of course the child in everyone through the central character of Ted.  To its credit, the movie draws in the viewer from the outset (even Patrick Stewart's opening narration provides two laugh-out-loud gags) and at no point does the audience find any need to question the ridiculous high-concept premise, such is the power of the writing and characterisation of Ted (voiced wonderfully by creator Seth Macfarlane) and the playing of the 'human' leads.  Wahlberg gives another superb understated deadpan comedic turn (similar to The Other Guys), and Kunis equally gives her character a depth and credibility that most actresses would find hard to match in the material.  As well as the ridiculously high comedy hit-rate, the film gains strength as much from the Kunis-Wahlberg relationship (the audience practically wills them to stay together) as the sincere Wahlberg-Ted friendship.  The introduction of Giovanni Ribisi's rent-a-twitchy-psycho-parent/fan feels more like a plot device than truly convincing, but it does allow for a crowd-pleasing moment involving the son that is almost up there with 'Hulk smash Loki' in The Avengers.  Macfarlane's direction never falters in confidence or execution, the straight tone allows for his trademark outrageous/offensive/brutally-honest moments to come out of nowhere, there are some surprising cameos, Walter Murphy's old-school music score is absolutely glorious, and a personal highlight of a recreation of a spoof dance scene from an 80s comedy classic was an utter joy.   Ted is a daft, silly, ridiculous movie that is executed so terrifically by all concerned that it may well turn out to be the most entertaining comedy movie of this year.

FILM: Dr Seuss' The Lorax 3D (dir: Chris Renaud, 2012)

"You have been warned!"

Many critics have carped about the bluntness of this film's environmental message, and the message does indeed come across very loud and clear, but it should be noted that this is simply because the film targets the very young end of the audience, hence the script is to the point ("It.. is.. called.. photosynthesis!") and subtlety, characterisation and narrative sophistication are almost non-existent.  Putting aside the truly awful Glee-lite musical numbers, on its own terms The Lorax has a lot to offer, but compared to the rest of today's children's CG-animated market, it always feels 'good' rather than 'great'.  The Grinch is clearly the template here, and The Lorax offers design which is psychedelic and consistent, with some very enjoyable voice work by Danny DeVito and Zac Efron in particular, and competent use of 3D, but what is noteworthy is the exemplary facial expression work created for the characters throughout.  The Lorax is a very straightforward romp that is well-delivered but ultimately too simplistic to satisfy anyone other than the very young.

FILM: Seeking A Friend For The End Of The World (dir: Lorene Scafaria, 2012)

"Sorry - you go first."
"I didn't say anything."

Seeking A Friend... requires patience, as the worryingly haphazard and not-entirely successful first half eventually gives way to something decidedly sweet and quite beautiful.  Steve Carell does his everyman routine to perfection here as society in the impending apocalypse and his own personal worlds fall apart, and he has some truly great performance moments, which is juxtaposed nicely with Keira Knightley's younger neighbour who embarks on a picaresque end-of-the-world road trip with Carell to see family and loved ones for the last time, although at times she lacks the lightness of touch that the roll seems to need.  It is reminiscent of the style of Eternal Sunshine Of The Spotless Mind in its romantic mis-match, but this film is overlong and the tone is too uneven in the first half, even though the closing stages of the film bring it all together both emotionally and narratively.  Towards the end, the film also has two instances of quite brilliant apt uses of classic pop songs.  Seeking A Friend... is therefore an interesting - but not wholly successful - take on a well-worn theme and movie coupling, which manages to resolve itself effectively in the end.

FILM: Magic Mike (dir: Steven Soderbergh, 2012)

"You don't have to say anything - just look pretty."

Soderbergh goes off in another unexpected direction with this low-budget, innocuous and lightweight take on male stripping.  It revels in the ridiculousness of the profession with a neat balance of self-deprecating humour and simple drama, which makes for reasonable entertainment stemming from Channing Tatum's real-life experiences (hence his co-writing and co-producer credits) and the director's cinematic eye which reveals itself mostly away from the confines of the strip club.  Tatum turns in another charming and credible performance, Matthew McConaughey is clearly having a whale of a time as troupe leader, and Alex Pettyfer as The Kid just about convinces as the ingenue whose downward spiral limps along predictably.  Like The Full Monty, male stripping is about male empowerment and control of its hormonally-crazed female audience, so it is to the credit of Cody Horn - as The Kid's grounded sister and Tatum's love-interest - that she creates an interesting and noteworthy performance amongst this testosterone-fuelled display of stereotypes.  Magic Mike is neither earth-shattering nor substantial, but it offers wry and well-made entertainment.

FILM: The Dark Knight Rises IMAX (dir: Christopher Nolan, 2012)

"Boy, you are in for a show tonight, son!"

Quite simply, The Dark Knight Rises is magnificent, not only as a more than fitting end to the Nolan trilogy but also as a superb example of film-making.  The anarchy of The Dark Knight is replaced here by a harsh, almost clinical physicality, from Bruce Wayne's opening physical degeneration to the utterly palpable threat offered by Bane every time he appears on screen.  The intelligently subtle scripting offers terrific dialogue and excellently controlled plotting which makes this long film incredibly rewarding and provides numerous wonderful pay-offs - both large and small - to viewers who have followed this trilogy.   Even within the confines of a comic-book story however, there are a couple of moments that truly stretch suspension of narrative disbelief to the very limit, but after all this is a Batman film, not a gritty documentary.  Christian Bale, Michael Caine, Gary Oldman, Tom Hardy and Joseph Gordon-Levitt are all terrific actors who are at the top of their game here, and even the usually irritating Anne Hathaway provides an excellently cool real-world socially-aware take on the Selina Kyle character.  Huge credit goes to Wally Pfister for truly stunning cinematography and to Hans Zimmer for a majestic and powerful score that works sublimely throughout, as well as the stunningly realised effects which are occasionally quite breathtaking.  The film does not lose out in using Nolan's preference for IMAX rather than 3D, as the power of the images and the director's complete control and understanding of what is on screen is absorbing and commanding from the very start.  It will be interesting to see where Warners take this property in the future - and the ending does offer further possibilities  - but for now The Dark Knight Rises may well prove to be the film of 2012.

FILM: The Amazing Spiderman 3D IMAX (dir: Marc Webb, 2012)

"You in the tights!  Don't move!"

The Amazing Spiderman is a joy.  This reboot is far less comic-book and much more grounded than Raimi's take (and that is not a criticism of the previous incarnation) but as a result this film not only feels fresh but also delivers in both dramatic and comedic aspects.  The through story - albeit slightly thin but focused - develops organically, with nods to the past and a very modern sensibility, undoubtedly thanks to Webb's direction.  There is a staggeringly strong cast on display which benefits the film enormously.  Andrew Garfield - an excellent actor - is superb throughout, balancing the damaged loner and awkward teenager beautifully; Emma Stone is terrific (but there was a ripple of amusement in the audience when Gwen stated she is 17!); and Rhys Ifans gives Curt Connors surprising humanity.  3D design is startling - if you do not like heights, the final half-hour in IMAX is a test of nerves - and New York looks beautiful, as is design work in general, notably lighting.  James Horner's epic bombastic score is effective but occasionally a little too big.  Stan Lee's cameo is probably his funniest yet, and there is a sequel-tease a couple of minutes into the end credits to wait for.  This film flies in the face of initial reaction to the seemingly-fast return to the franchise, and stands up as a smart, superbly-crafted, well-written and strongly-delivered movie.

FILM: Ice Age 4 Continental Drift 3D (dirs: Steve Martino, Mike Thurmeier, 2012)

"Grab your weapons, mates!"

Whereas the previous film in the Ice Age franchise seemed a little more reliant on 3D-showboating than providing consistent entertainment, Continental Drift delivers on both counts.  Design and 3D are visual treats throughout - this largely ice-and-water-bound adventure shows how far these difficult CG media have come - and a surprisingly witty and inventive script keeps things moving.  After an alarmingly over-preachy start (respect your parents, children), Ice Age 4 barrels along with three well-structured parallel narratives plus an effectively interwoven through-story for the marvellous Scrat, yet it feels that the writers have loosened up and are having a lot more fun: there is even a lovely self-referential dig at the previous film's 'dinosaurs' concept.  Fox has tagged an alarmingly dour Simpsons Maggie-centric short at the front, but the pay-off is quite sweet.  As a fourth entry, Continental Drift hardly breaks new ground, but it is a lively, well-written and beautifully-crafted affair, and it hits its children's market spot on.  It is alarming, however, that the 'children' in the series are now teenagers: what next?  Ice Age 5 - The Divorce Years?

FILM: Storage 24 (dir: Johannes Roberts, 2012)

"I just wanna go home."

Noel Clarke (writer/producer/star of Storage 24) said this movie was born out of his frustration that the UK film industry never makes a 'monster on the rampage' film, and so this reasonable stab at the genre makes it into cinemas.  The film uses its meagre budget well: gore effects are sparing but effective, the hints of the bigger picture affecting the world outside the storage facility are well-handled, and even the creature (when revealed) has an endearingly but pleasingly lo-fi quality.  Aside from the excellent Clarke, who can seemingly wring a strong performance out of anything, the cast is vapid, and the frequently banal dialogue is not helped by somewhat dull performances.  Tension and shocks are occasionally generated effectively, although a loud sting every time the lights fail (frequently) becomes tiresome, and the synth-led score sometimes sounds like an audience member's mobile has gone off.  Storage 24 is not a particularly strong film, and it could do with more energy and some serious script editing, but it is well-intentioned, clearly versed in the genre and tries hard to match its American counterparts, making it a little better than standard straight-to-DVD fare.

FILM: The Pact (dir: Nicholas McCarthy, 2012)

"Merry Christmas!"

The Pact came in under the radar and generated a buzz through its tightly-edited trailer, which is very much a greatest hits package for the film as a whole.  It is very much a familiar piece, with a join -the-dots story that really does not take an awful lot of working out (unless you were the two teenage girls sitting three rows in front, who were entertainingly terrified by the whole film) and ultimately does not amount to much.  The supernatural and crime-thriller elements never quite seem to gel as strongly as they should, but the set pieces from both are effectively executed. Nevertheless, for its genre and budget, director McCarthy uses some creative and thoughtful camerawork as well as building tension successfully, especially in the first half.  The Christmas setting lies unsettlingly at odds in the background, and the geography of the deceased mother's house - so crucial to the story - is conveyed well, making The Pact a well-executed and interesting low-budget genre entry.

DVD: Iron Sky (dir: Timo Vuorensola, 2012)

"So, you are a formerly dead black model, who is now suddenly a living white hobo after spending a weekend on the Moon.  Is that correct?"

Iron Sky has been a long time coming, with expectation slowly building via the enticing trailer and its use of fan-funding, and it proves to be an entertainingly daft labour of love.  Whilst hardly Michael Bay or Roland Emmerich, for its low budget the design and low-end effects are impressively mounted, there is surprisingly enough story to fill the running time effectively, Laibach (!) turn in a strong musical score, and Gotz Otto strides commandingly through the film as the Fuhrer-to-be.  Iron Sky is nevertheless prey to two of the main faults of low-budget productions - namely an awful lot of truly poor acting and really lame humour - but it also manages some quite broad but effective political satire at times, making it a real hit-and-miss film that strives to entertain throughout, either by impressing or simply being outrageous, and often succeeds.

FILM: Prometheus 3D (dir: Ridley Scott, 2012)

"Mortal after all."

The clue is in the title: this is not an Alien movie per se, but echoes of the original film resonate loud and clear in all sorts of ways, making Prometheus a fan-boy pleasure as well as a solidly-crafted tale in its own right.  As expected, the film looks stunning, with plenty of sci-fi-eye-candy and stunning on-location 3D work.  A surprisingly elegiac score gives the film an almost optimistic air of wonderment as the titular spaceship takes up the 'invitation' left to earlier civilisations, one of many manipulations of the audience by Ridley Scott as this tale of exploration, faith and (familiarly) family unfolds.  There are problems: the script constructs an effective story but gives the actors little dialogue of substance with which to work, plot-holes become increasingly evident as the film progresses, and there are stretches when it feels like little is happening.  Nevertheless, the strong cast delivers, with good work by Noomi Rapace, Charlize Theron, Logan Marshall-Green, Idris Elba and especially Michael Fassbender as chillingly cool android David, and Ridley Scott brings back some of the audacious energy he can show as a director, resulting in this slightly uneven but always interesting addition to the Alien universe and canon.

FILM: Snow White And The Hunstman (dir: Rupert Sanders, 2012)

"We were promised gold, and what do we get?  Pooh!"

By the time you emerge from the cinema, you will be wondering if entire seasons have passed by since you went in.  At over two hours long, the classic fairy-tale gets a serious make-over, and as a result every line is delivered in such a weighty and ponderous manner that you frequently wish the movie would just move along and get on with it.  This new 'vision' of the Snow White tale is The Lord Of The Rings via Narnia, with Charlize Theron in grand form as the Wicked Queen/Stepmother character, conveying a real sense of evil, control and despair as required, Kristen Stewart providing a level-headed if unspectacular heroine, and Chris Hemsworth again showing strength and confidence on-screen in a demographic-widening beefed-up male role of The Huntsman for this traditionally female-centric story.  Design work is glorious - there is always something interesting to look at - and the melodramatic score sometimes matches the scale of the visuals,with a suitably frenetic final battle, but overall the film is overlong and it is not such a radical re-working as expected.

FILM Men In Black 3 in 3D

"Make love, not war!"
"I prefer to do both."

Sufficient time has passed to (almost) leave MIB2 behind in the dumpster of misguided sequels, but if script is king for movies, this belated third entry is sorely lacking in that crucial department.  For the most part, MIB3 is dour and increasingly tedious, clearly lacking the sense of exuberance and downright fun that made the original film so enjoyable and successful.  Apart from those shortcomings, as a blockbuster there is nothing disastrous about it - Smith is fine in the return to what he does best, the addition of Josh Brolin's wonderful performance as the younger Agent K is a bonus, and even the time-travel element of the troubled third act is resolved acceptably and in a way that gives the agents a sweet and unexpected backstory - but there is little here that is either engaging or truly memorable, which is very disappointing.

FILM: What To Expect When You're Expecting (dir: Kirk Jones, 2012)

"What are you watching?"
"Celebrity Dance Factor."
"No."

The latest addition to the mini-sub-genre of female-targeted ensemble comedy-dramas is perhaps the most watchable of the bunch, but it is still utterly predictable, lightweight and ridiculous.  Unlike the ridiculous New Year's Eve, the tenuous relationships and links between the five main narrative-strand couples are less forced but remain unlikely.  The reverse sexism employed is cynical and mildly offensive: the male characters are buff, stupid, totally whipped or any combination of the three, whilst the women are all saints for having to cope with their child-men (except, of course, for the stupid-comedy-relief-large-woman just like in Bridesmaids, who unsurprisingly played the same kind of role in, er, Bridesmaids). The standout performance comes from the wonderful Anna Kendrick, providing yet another thoughtful and precise character reading, and J-Lo dials it down a couple of notches to remind everyone that she is a good actress.  Whilst written by women, starring women and made for women, Hollywood gave the director's chair to a man, and Jones thankfully keeps proceedings away from their potentially shriek-filled level.  Aside from a truly distasteful juxtaposition of Christmas with a miscarriage (and yes, they even drive  to the hospital in the snow and return in the rain/metaphorical tears), the pace snaps between the different strands at a fair trot and the film gets more amusing in the later stages, but ladies, you deserve better.

FILM: The Raid (dir: Gareth Evans, 2012)

"Why us?  Why today?"
"Why the f**k not?"
"It's a valid question."

The Raid is exactly what a pure action film should be: lean, simple, furious and thrilling.  With minimal set up at the start, the tone is established quickly, with extraordinary, frantic and precise action set pieces that are astoundingly brutal - this is not a film for the faint of heart.  Gareth Evans directs with terrific confidence, control and economy throughout, excellent sound design is a huge bonus, and Iko Uwais - clearly an Asian action star in the making - proves to be a mesmerisingly watchable martial arts practitioner and a human centre amidst the carnage.  The low-budget, on-location set-ups add an air of authenticity, whilst the big action scenes provide real adrenaline-rush violence, from Uwais taking out two corridors full of thugs single-handedly to an incredibly prolonged two-on-one bout towards the end, not forgetting one insane villains-vs-police face-off in two rooms one above the other.  It is a familiar genre piece (touchstones seem to include Die Hard, La Horde and the A Better Tomorrow series) and narrative 'surprises' are anything but, yet its straightforward no-frills dynamism is very refreshing.  It was unlikely that a subtitled low-budget Indonesian actioner directed by a Welshman would cause such a global stir, but its reputation is fully justified and The Raid is easily one of the best Asian action films seen in a long time.  This is the version to see in the cinema - do not wait for the inevitably watered-down, smoothed-out American remake.

FILM: The Dictator (dir: Larry Charles, 2012)

"Indulge me.  Let's pretend just for one minute that I am a complete idiot."
"OK.  I'm there."

The Dictator lacks the warmth and pathos of Borat but is more likable than Bruno, and whilst there are quite a few tumbleweed moments, the film is generally entertaining.  Taking on a more standard traditional broad comedy movie format than the previous two films, here the jokes are mostly smaller and less situational, relying mostly on quick verbal and visual gags that make The Dictator fly past.  Baron Cohen is reliable but it does feel like we have been here before, Anna Faris amps up the comedy volume as far as she possibly can, and Sir Ben Kingsley's presence is inexplicable.  Some of the humour is of questionable taste, which is precisely why Baron Cohen's films are so popular, yet there is some genuinely effective and well-aimed satire of Middle-Eastern despots and - in a remarkably barbed finale - American values.  Whilst The Dictator is passable entertainment, it has to be asked: how many more 'comedy foreigners' can Sacha Baron Cohen get away with?

FILM: Dark Shadows (dir: Tim Burton, 2012)

"This is a very silly play."

Thankfully, Tim Burton's movie take on the cult USA TV soap is not the non-stop parody suggested by the most recent bizarre trailer.  Burton and his terrific cast (Michelle Pfeiffer is majestic, Eva Green and Chloe Moretz are fun, and Depp gives one of his best performances of late) absolutely capture the cheaply theatrical Gothic melodrama of the television version. As a result, though, the very deliberate pacing and delivery, which is more suited to the small screen, means that the film rarely gains momentum, and the flashes of genuine humour seem oddly out of place with the overall tone.  The stand-alone story is well-crafted, set design is magnificent, a superior Danny Elfman score works very well, and the finale offers spectacle and scale.  Whilst there is much to admire in Dark Shadows, it is more of a curiosity than truly endearing.

FILM: Piranha 3DD (dir: John Gulager, 2012)

"Hey, shall we take off all our clothes and go swimming?"

There was a mild flurry of outrage across the internet when it was suggested that this sequel to 2010's guilty pleasure would bypass cinemas, but it turns out that Piranha 3DD is - disappointingly - barely a cut above standard direct-to-DVD fodder.  This is a very low-rent Jaws III with (a few) added breasts and equally weak cartoony 3D, set in a very small 'adult' water-theme park and saddled with an extremely lacklustre script.  There is nothing here to match the excellently-executed big set-piece of the first movie, and even the smaller action/gore moments are generally brief and lack impact. The original also had the cheese factor knowingly and relatively smartly ladled on, whereas this film often wants to take itself seriously and falls short.  When it really tries, however, it does hit the mark - the franchise's 'detached penis' gag works well here, and one bathtub scene manages to reference three genre favourites.  Christopher Lloyd and Ving Rhames make brief and immensely welcome re-appearances, but the wheels almost come off as The Hoff takes centre stage in the latter part of the film, in spite of some barbed lines at the expense of his 'celebrity' status.  The best is saved to last, as the cruel closing joke genuinely pays off,  but overall 3DD is nowhere near as much fun to sit through as its predecessor.

FILM: American Pie: Reunion (dirs: Jon Hurwitz and Hayden Schlossberg, 2012)

"When are you gonna realise things will never be like they used to be?"

A reunion of what feels like almost the entire original American Pie cast was an appealing idea, but the film does not wholly deliver on its promise.  Inevitably, the film revels in the re-introduction moments - even going into Jim's old (unchanged) bedroom again raises a smile - but it is mostly new riffs on old and familiar material, and a lot of characters and plot ideas remain underdeveloped.  Jason Biggs proves an amiable and reassuring lead as always, and indeed the whole reunited cast are proficient, but the rather flat script provides little to make the characters truly engage again, the exceptions being (perhaps inevitably) Jim's dad and Stifler's mum who steal the whole show in their short screen time.  There are occasional flashes of fun, and the hints of the-movie-that-could-have-been when the 'old' generation is pitted against the new teenagers show promise.  It is good to see these likable characters on screen again, but the rather smug ' see you at the next sequel' ending will only be welcome if the characters actually have more to do.  Make sure you stay in your seats for the funniest scene in the whole film, which appears a short way into the end credits. 

FILM: Safe (dir: Boaz Yakin, 2012)

"If you weren't such a double-dealing a**hole, I could almost like you."

The unlikely pairing of down-at-heel cage fighter/ex-cop Statham with a young Chinese girl  with a prodigious mathematical ability (delightfully played by Catherine Chan) is curiously effective in this lean, dynamic action-thriller.  The movie pits various factions against each other (Chinese and Russian criminal gangs, corrupt New York cops, an equally corrupt mayor), as the two lead characters' narratives collide and Statham becomes the girl's protector.  The violence is swift and merciless, reminiscent of early John Woo movies, and although the early action set-pieces seem a little underwhelming, the second half of the movie improves considerably in this respect.  Luke Wright seems like the kind of character that Statham plays all too easily, but in Safe the writing and back-story gives the actor the chance to develop some depth of emotion in the portrayal of a man who is literally down-and-out.  The ending feels a bit rushed and motivations become murky and forced, but the economy of on-screen narrative and the overall drive of the movie more than compensate to provide an enjoyable genre movie.

FILM: Avengers Assemble IMAX 3D (dir: Joss Whedon, 2012)

"At this point, I don't think anything else could surprise me."
"Ten bucks says you're wrong."

Whedon pulls off this seemingly-impossible task with great aplomb, his whip-smart script capturing the feel of the individual characters effectively, stringing together multiple threads into a strong through story, pulling off the multiple-character balancing act surprisingly well and - perhaps most importantly - capturing the comic-book superhero style with genuine humour, drama and panache.  The incredibly strong cast is uniformly terrific, one of the film's many pleasures being the way that characters bounce off each other in a variety of combinations and situations, both in dialogue and in action scenes (the Iron Man vs Thor smackdown is especially thrilling).  The huge ambition and scale of the special effects is quite stunning, emphasised by the very effective use of 3D, particularly evident in the final borderline-insane battle which makes the final act of Transformers: Dark Of The Moon seem positively restrained.  Minor quibbles include the fact that a couple of set-pieces don't quite hang strongly with the overall narrative, and occasionally dialogue-heavy/exposition scenes feel a little too long, but these are minor gripes.  Whedon takes the Marvel universe seriously, but also manages to squeeze out some genuine laughs along the way: one moment in the finale was so ridiculously and hilariously unexpected that it got applause from the first-night audience.  Of particular note are Mark Ruffalo as the big screen's best incarnation of Bruce Banner/The Hulk so far, and Tom Hiddleston makes for a terrific villain as Thor's returning Loki.   Avengers Assemble could have gone so very wrong, but Whedon has created a superb piece of Summer blockbuster entertainment.

FILM: Lockout (dirs: James Mather and Stephen St Leger, 2012)

"You mean I'm being beaten up by a guy called Rupert?"

The opening salvo promises much - a stream of zingy one-liners, a dizzying chase (which includes a good nod to the Bourne jump-through-the-window gag and shows us what the opening motor-bike chase in the promised live-action Akira might look like) - and sets up a fun 70s/80s action/sci-fi flick along the lines of Escape From New York and Fortress.  It is therefore a shame that it does not take long for the energy and ideas to get thinner, more generic and sadly predictable, but the film remains entertaining thanks to a lively and committed performance by Guy Pearce, who is clearly having fun in the Bruce Willis/Kurt Russell role of 'bad' CIA operative, who is charged with rescuing the President's daughter from a space station filled with newly-awakened-from-cryogenic-stasis criminals.  Maggie Grace is reasonable in the token female role, although the writing often undermines any attempt to give her independence and toughness, and Brits Vincent Regan and Joseph Gilgun lead the criminals with solid but expected notes of cruelty and madness.  It all leads to an oddly anorexic ending, which with a little more thought and just a few more character shots could have had more impact, but as daft mid/low-end sci-fi/action movies go, Lockout has enough going on to keep entertaining, and it is good to see the genre on the big screen rather than DVD dumping ground.

FILM: Salmon Fishing In The Yemen (dir: Lasse Hallstrom, 2012)

"Don't you 'work party' me, you short-arse little pen-pusher!"

Even by director Lasse Hallstrom's standards, Salmon Fishing pushes gentle whimsy to the very middle-class and preposterous limit.  Director and leads Ewan McGregor, Emily Blunt and Amr Waked all turn in professional and effective work from Simon Beaufouy's clinically-structured screenplay, and there is much to admire and enjoy with so little to actually believe.  The cinematography is terrific, ranging from the Scottish Highlands to the vast desert terrain, and the players deliver charm and warmth.  The film is utterly stolen by Kristin Scott Thomas as the Prime Minister's go-getter, whose acidic rapid-fire delivery provides a sharp contrast to the rest of the film and is fired off with such joyous comedic relish that you wish she appeared in more scenes (and indeed that the actress had more roles like this).  Salmon Fishing is pleasant, occasionally amusing, professionally presented but not particularly memorable.