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.