FILM: Mars Needs Moms 3D (dir: Simon Wells, 2011)

"Is there going to be a lot of running?"

Mars Needs Moms is a classic fable, told simply with a breezy, focused narrative that zips along from one chase to the next falling-down-a-long-tunnel-in-3D to arrive at a suitably large-scale climax which contains a remarkably near-traumatic moment for a PG movie. The level of CG detail is strong and uses colour well, and the use of 3D to create expansive environments both on and under the Martian surface looks good. Sound design is terrific and John Powell provides another wonderful score. There are elements in this film that show a significant step forward in the use of motion-capture in terms of facial expressiveness and movement, ably demonstrated by the raw mo-cap studio footage recap of the movie that plays alongside the end credits. Mars Needs Moms is decent, well-made and reasonable entertainment, which will lose much when stripped of the 3D element.

FILM: Hop (dir: Tim Hill, 2011)

"Any baggage? Just emotional."

At last, an Easter film for the little ones, and unsurprisingly it riffs on all the Christmas movies (The Santa Clause, Santa Claus-The Movie, The Nightmare Before Christmas, etc) and applies them to the much less rich trappings of Easter celebrations - indeed, at times the movie seems to forget it has any Easter connections. The script, tone and audience targeting veer all over the place, and for a U-certificate film it is very dialogue-heavy and often quite tedious. The reliable James Marsden and his amazing teeth gives a charming performance amazingly pulled from such thin material, even though he seems a little old for the role, whilst the rest of the great live-action cast barely get a look-in. The CG content integrates well with the live action, with effective voice work from Russell Brand as E.B. (the Easter Bunny) and Hugh Laurie as his father. Hop is a very lightweight children's film which feels underdeveloped and leaves little impression, lacking real magic or engagement.

FILM: Sucker Punch (dir: Zack Snyder, 2011)

"If you don't stand for something, you'll fall for anything."

From the imagination of Zack Snyder comes probably the most demented film you will see this year. Being Zack Snyder, everything from mise-en-scene to sound dubbing is dialled up to 12. Although the action sequences are frequent, relentless and often very creatively shot, it does leave you feeling like being hit over the head repeatedly with an X-Box for a couple of hours whilst a wispy emo covers band warbles away in the corner. The episodic structure of the narrative runs like clockwork, apart from a couple of interesting curveballs thrown in towards the end, and the diverse nature of the quests gives the impression of a series of mini-movies strung together. Emily Browning just about convinces in the lead role, but there are some surprisingly assured supporting performances to look for by Vanessa Hudgens and Jena Malone, and Oscar Isaac gives a consistently unsettling turn. To the film's credit, the final voice-over manages to pull it all together to some degree, in spite of leaving some very big unanswered questions. Sucker Punch delivers epically on the visual level, but emotionally it does not quite convince, and it clearly demonstrates why watching your mate playing a computer game is not a very satisfying experience.

FILM: Limitless (dir: Neil Burger, 2011)

"I don't have delusions of grandeur - I have an actual recipe for grandeur!"

Limitless is a smart, sharp contemporary thriller. Bradley Cooper carries the movie effortlessly and convincingly with an assured and precise performance as the washed-up writer Eddie Morra whose life is transformed by an experimental but dangerous drug. Director Burger employs an interesting and well-handled array of audio-visual tricks to take the viewer on the journey with Eddie and experience the unfolding narrative with him. With strong support from Anna Friel, Abbie Cornish and an on-form De Niro, Limitless proves to be entertaining, engaging and even thought-provoking ("Worth the risk? What would you do?") from start to finish.

FILM: Submarine (dir: Richard Ayoade, 2011)

"Well, I have a big heart."

With filmic influences that seem to range from classic European cinema to Spielberg to Scott Pilgrim, Submarine is a joyous, warm, intelligent and immensely enjoyable movie from start to finish. Richard Ayoade's first full-length film as writer and director amply demonstrates his skills in both areas: the direction shows genuine invention and control without ever being too showy, and the script (from Joe Dunthorne's novel) gives every character an excellent range of wit, comedy and pathos. Craig Roberts (last seen as the teen vampire in Being Human) gives a superb central performance as 15-year-old Oliver, and Yasmin Paige shows promise as his girlfriend Jordana. The main adults are models of character work (especially Sally Hawkins and Noah Taylor as Oliver's emotionally-constrained parents). Andrew Hewitt' score supports the film beautifully, and the Welsh landscape provides some wonderful juxtapositions of nature, industry and institutions (home, school, hospital). It is refreshing to see teenagers given credit for real emotions in film, which is sorely lacking in most Hollywood product. Submarine represents the very best of small-scale British film, and it will be very interesting to see what Ayoade does next.

FILM: The Eagle (dir: Kevin Macdonald, 2011)

"There's no medicine for that."

Can this really be from the same director who brought us The Last King Of Scotland? This is a tremendously dreary movie, hampered fatally by a cruelly weak script which sees the likes of Jamie Bell and Donald Sutherland struggle to make anything interesting of it and leaves even Channing Tatum to flounder. The story is simplistic and stretches credulity at every step, and the range of inappropriate accents on display is intriguing. After a promising opening with attacks on a Roman outpost, the combat scenes are shot in a disappointingly confused and unengaging manner. If you haven't given up long before, the final two lines of the film demonstrate the film's lack of identity and purpose - even the score sounds parodic at times. The Eagle shows some fine landscapes and the lead duo manage to convey some sense of the emerging bond between Roman master and Brit slave, but the film is a plodding and disappointing experience.

FILM: Battle: Los Angeles (dir: Jonathan Liebesman, 2011)

"Extra-terrestrial."

"You mean, like, from space?"

"No. From Canada."

Battle: Los Angeles is quite simply a very entertaining popcorn action/war/alien-invasion movie, with its mid-range budget all up on the screen, a screenplay that seldom pauses for breath and a number of very effective action beats. Inevitably, the shadows of Aliens and Independence Day (amongst others) loom large, but by placing the viewpoint firmly from the soldiers on the ground, coupled with the incessantly moving camera and frequent tight close-ups, the viewer is put right in the thick of the action which is often intense and immediate. To no surprise, the military stereotypes are all lined up at the start, and they mostly utter cliches and dialogue-with-extra-cheese, but occasional smartly-written lines punch through. Clever casting of the excellent Aaron Eckhart as lead gives the film a rock-solid foundation throughout, as the supporting actors do positive work without ever being able to break out from their basic narrative functions. Brian Tyler provides a wonderful melancholy score, although a couple of battle scenes could have pulled back on the choirs-and-kitchen-sink bombastic approach. The violence and intensity definitely pushes the boundaries of the 12A certificate at times, but this is what the film is all about; for in-depth Platoon-style character study, look elsewhere, but for big, loud Friday-night action, Battle: Los Angeles definitely delivers.

FILM: Hall Pass (dirs: Bobby and Peter Farrelly, 2011)

"Home, home on the range...."

Hall Pass bears all the hallmarks expected of a Farrelly Brothers comedy - a thin concept, a couple of effective gross-out gags, moments of comedy/drama uncertainty - and acquits itself reasonably. Owen Wilson does well by having to play more of a character than himself , and the seasoned comedic delivery of Jason Sudeikis plays fine if a little too smugly at times. As their suffering wives, Christina Applegate gives an assured performance whilst Jenna Fischer is a trifle bland in an underwritten role. The supporting band of comedic friends (including Stephen Merchant, drawing genuine humour from a badly-stereotyped Brit role) has promise but literally disappears halfway through. There are plenty of amusing moments (the early visit to an unbearable rich friend's mansion is a highlight), and unsurprising life/love lessons are duly learned (men are children, women have emotional needs), but overall this is quite a gentle film for the Farrellys.

DVD: Feast III: The Happy Finish (dir: Jon Gulager, 2009)

"Did you learn this in the marines?"

"No - Rambo III."

This direct continuation from the previous entry has similar problems (improbable characters, redundant dialogue, unfunny attempts at humour) and similar strengths (abundant enthusiasm, punching slightly above its budget). Feast III is chaotic in terms of story and execution, especially in the second half, and it substitutes the genuine situation-led lunacy of Part Two for a lot of murkily-lit running around to little effect and interest. There are a couple of well-staged moments, and the gore is again surprisingly effective at times (in the American Unrated version), but overall Feast III is not such a 'happy finish' to a series that begin so promisingly.

FILM: The Adjustment Bureau (dir: George Nolfi, 2011)

"Coincidence? I think not."

The first feature from screenwriter George Nolfi takes another Philip K. Dick concept and spins it into an engagingly intimate story on the power of love, fate and free will. Matt Damon and Emily Blunt both shine wonderfully as the couple who find an instant chance attraction but who are not part of The Plan and whose every attempt at developing their romance has to be thwarted by literal (and cleverly realised) Agents of Fate. The film is sumptuously shot - this is very much a movie-beautiful version of New York - with all the technical elements attractively polished. The story builds effectively to an efficient chase climax (but try not to have Monsters Inc. in mind when the 'doors' come into play). This is a satisfying film, but it does not quite escape from the fact that is is a rather thin allegory stretched over 105 minutes, and the careful, low-key approach gives it grace and weight but detracts from its overall viewing impact.