Brothers (2009)

A soldier serving during the war in Afghanistan is taken hostage and presumed dead by his family, leaving his inept brother to look after them.

Starring Jake Gyllenhaal as Tommy, an ex-con who can’t seem to find a path in life, and Toby Maguire as Sam, a successful marine for the U.S. Army with a loving wife (Natalie Portman) and two daughters. The two brothers have a close bond, Sam being Tommy’s only true friend, and trying to steer him in the right direction in life. Having grown up with a father who served during the Vietnam war, the two brothers turned out very differently, but were affected significantly by the man’s harsh treatment.

When Sam’s wife Grace is told of her husband’s helicopter crash in the mountains of Afghanistan, she becomes desperately upset. Tommy soon steps up as the responsible uncle, and slowly fills the void that his brother has left, and takes care of Grace and the kids. At first his role is simply functional, helping to fix up the dilapidated kitchen, taking the kids ice skating, but, after a few months, Tommy and Grace begin to become closer and have confusing feelings about each other.

Meanwhile, we see Sam imprisoned in an insurgent camp in the mountains with a fellow soldier. His treatment is horrific, being left to starve for days, and forced to tell information. On one terrible occasion he is asked to commit a terrible deed, which will change his entire nature.

It is a powerful film, with brilliant performances. Gyllenhaal delivers as Tommy, portraying the bursts of anger with subtle humanity and charm. Portman is great as the devastated Grace, her reaction to the situation is very sad and effective. However, the most impressive performance is Maguire as Sam. The evolution of this character is so gripping to watch and disturbing in places, and Maguire tackles the role with amazing confidence.

The themes of the film are very engaging, such as the effect of modern war on soldiers; how they are sometimes unable to relate to their loved ones once they return home, and how the battlefield becomes their home. Also, the tragedy of the relationship which builds between Tommy and Grace is touching at points, but also uncomfortable to watch in places. There is almost a guilty pleasure in seeing them happy together.

Watch this film if you like great performances, gripping drama, and an unusual story.

Wall Street: Money Never Sleep (2010)

A sequel to the 1987 original, Wall Street: Money Never Sleeps is a modern Oliver Stone film that fails to deliver the goods.

Gordon Gekko (Michael Douglas), is fresh out of prison, having been sent there at the end of the first film for insider trading and other financial misbehaviour, and is now looking to rebuild his fortune. He writes a book about his experiences, called “Is Greed Good?”, a play on words from his famous line in the first film, and when he is touring the book at a college he is approached by a boy called Jacob (Shia LaBouef). Jake, a young Wall Street mogul himself, is currently dating Gordon’s estranged daughter Winnie (Carey Mulligan), and wants to reunite the two, whilst gaining useful advice about the stock markets from this legend.

Gekko and Jacob also join forces in bringing down a new foe in the world of trading, a man responsible for many atrocities in the financial world. But, as Jacob is soon to find out, nothing is black and white in the world of numbers, and in this modern age of recession and global economies, the real winners are those who survive.

From legendary director Oliver Stone, this film is a disappointment. Right from the start the characters speak in complex bank manager jargon about all kinds of financial trickery that you cannot understand, and only get the general gist. The characters are very un-likeable, apart from Winnie, whose angelic rejection of cash and greed is her central theme. The lives of these characters are un-relatable, they spend their days buying, selling, gaining cash from across the world, playing with figures that seem unimaginable to our humble eyes, and their reckless attitude towards anything important seems unrealistic.

Stone does make some relevant comments about our current economic situation, with regards to irresponsible banking, a fundamentally flawed way of life, and so much power in the hands of so few. But, alas, these social commentaries are nothing more than you would read in the daily newspaper, and that wouldn’t take you over two hours to find out. The film also tips the hat too many times at the first film, with a small cameo for Charlie Sheen out of nowhere! Not Winning.

Some of the stylistic camera work is impressive, and there are subtle choices that have been made to make the film feel very modern, but, altogether, the film seems to be trying to make a point we already know very well…we are all greedy, and does so in a lengthy, confusing and un-entertaining way.

Dances With Wolves (1990)

A lieutenant serving during the American Civil War, is posted at a remote and isolated location, with only Native Americans and a curious wolf for company.

Kevin Costner plays Lt John Dunbar, an established military soldier, who earns a reputation for himself during a fierce stand-off between the Union and the Confederacy forces. Wishing to see the frontier before is disappears, Dunbar requests to be sent right into the thick of Indian territory, where he can best serve his nation. However, once he arrives at the empty post, he soon realises that there is little to do, except protect the rations from local Indians, maintain the near-derelict barracks, and play with an inquisitive wolf.

However, as the Indians become curious about this lone white man sitting in the middle of their land, their interaction becomes more and more pronounced. At first wary of Dunbar, they soon form an amicable relationship, and begin trading customs and information with each other. John soon realises that the myths and legends of these people have been terribly distorted, and finds a welcoming community which he soon becomes an important part of. He forms an intimate relationship with one of the members, a white woman who was rescued by the Indians early in her life, called Stands With A Fist (Mary McDonnell).

Life amongst the Indians, while enjoyable, is also considered completely traitorous in the eyes of the United States army. So while Dunbar helps his new friends fight against local enemy tribes, he must also try to protect them, and himself, from the pursuing forces of Uncle Sam.

An enjoyable film, it displays a sentimental and romantic vision of life on the frontier. Costner, for the most part, is an engaging and interesting central character, although his voice over narrative sounds almost childlike, and gets a bit annoying. The action/fight scenes are well produced, in a time before CGI dominance, these stunts have the reality factor which appeals to many viewers.

At times, the film is too sentimental, and seems more like a guilty response to what can only be describes as an awful period in history. The battle between these different races was bloody, and the effects were irreversible. However, it is a good thing that films like this wet people’s appetites for history, and will inevitably make some read up on it.

In conclusion, a worthy film, it has the fulfilling ability to include romance, action, history and drama, and, although slightly too long, it is a film people will revisit for good reasons.

No: 2 from my list…DONE

We Need To Talk About Kevin (2011)

Shrouded in anticipation, and laden with expectations, director Lynne Ramsay’s film adaptation of the popular novel “We Need To Talk About Kevin”, is one of the most exciting cinematic releases of 2011. The film has been nominated for the prestigious Palme d’Or award at this year’s Cannes Film Festival, and is set to be a popular choice amongst next year’s award shows.
Starring the resplendently talented Tilda Swinton as the story’s central character Eva, the film also boasts an impressive supporting cast: including John C. Reilly as Eva’s husband Franklin, and the promising Ezra Miller as the abominable son Kevin. Adapted from Lionel Shriver’s bestselling novel, it was obvious from the start that Ramsay and her crew would have a tough challenge ahead of them, delivering a film that would inevitably face harsh critical scrutiny, and audiences seem nervously eager to see if they rose to the occasion.
The story of “We Need To Talk About Kevin” is a non-linear thriller, presented as an account from Eva about her experiences raising her murderously troublesome son Kevin. It is set after a high school tragedy, in which Kevin kills several of his peers with a bow and arrow, as well as his father Franklin and sister Lucy. We can ascertain from Eva’s story that she and Kevin never developed a close maternal bond, in fact, their relationship seems more of a battle for dominance. On most occasions Kevin completely defies the wishes of his mother, even from a young age, choosing to upset and terrorize her, whilst pretending to his father Franklin that he is a happy and obedient child.
As Eva struggles with her agonized emotions over the reality of her motherhood, her relationship with Franklin also deteriorates. Blindly fantasising that he has the perfect family, Franklin cannot accept that his son is a disturbed and violent child, instead accusing Eva of blaming her troubles on their innocent son.
Throughout the film, Kevin’s actions become increasingly extreme. At first his persecution of his mother is relatively insipid, such as refusing to roll a ball back to her, or squirting paint over her prized maps of the world. However, as Kevin grows older, and progressively more volatile towards the world, his behaviour towards his mother becomes even more intense and hate filled.
Lynne Ramsay has captured the extraordinarily terrifying atmosphere of this story incredibly. Her depiction of Kevin as this malevolent, monster child is done through a wonderful mix of scary close-ups of Miller’s unresponsive face, with achingly long sequences of Eva’s despair. Rather than try to glorify and understand Kevin’s unnatural hatred, it is left as an unexplored force that permeates the whole movie.
Swinton’s performance is breathtakingly painful to watch, and beautiful at the same time. Her anguish, internal and external, is possibly the most compelling aspect of the film. And Ezra Miller is truly magnificent, he plays Kevin in a darkly graceful way, that is gripping throughout.
In terms of the directorial choices, the film displays some brilliant moments using sound and colour. Radiohead’s Johnny Greenwood provides the original music for the movie, which, at times, is both disturbing and moving. Sound is used to bludgeon the audience, at one point combining the endless crying of Kevin as a baby, with the harsh tones of a pneumatic drill. Although, it was the use of retro pop songs that provided the more disturbing moments in the film, such as “Everyday” by Buddy Holly, a pure, melodious pop track that seemed to magnify the cruel nature of Kevin.
Ramsay uses colour to great affect too, utilizing splashes of red throughout the film: such as the paint in Kevin’s squirt gun that he uses to ruin Eva’s maps, or the red paint bomb that has been thrown against their house after the high school shooting. Its affect on the audience is to evoke feelings of hatred and alarm at Kevin’s character, and to illustrate the constant fight going on between him and Eva.
The themes of the story are very poignant, exploring the usually natural bond between a mother and son in a very unnatural way. Instead of blaming Kevin or Eva explicitly, the audience is left to determine why this relationship has developed so terribly. Questions are raised about Eva’s response to becoming a mother, as well as the arguments for nature vs. nurture. Furthermore, the film asks what the limits of blood and love are, how far one would go to stand by your kin, something else that is related to the use of red colour.
Far removed from the typical releases that have bombarded our screens this year, “We Need To Talk About Kevin” is an intelligent film that is entertainingly difficult to watch. It is gripping in terms of performance, all three of the leading players providing amazing portrayals of these complex characters, the script is reluctant to add any unnecessary bulk, and the overall effect of Ramsay’s direction is brilliantly dark, moving, and captivating.

The Three Musketeers (2011)

Another rendition of the Musketeers story, with explosive action and special effects.

Set during relatively peaceful times in France, the three Musketeers, Athos, Porthos, and Aramis are left feeling redundant, with no cause to join or enemy to fight. However, when they run into a young D’Artagnan, the group soon find a new mission, to uncover a conspiracy which involves Milady De Winter, a rebellious woman whom the Musketeers have encountered before, and a cocky Duke of Buckingham.

With a plot to lead France to war with Britain, the four Musketeers must work undercover to undo Milady’s treacherous plan, and avoid bloodshed, whilst avoiding the foes in France who also plot against the Musketeers.

The film is an entertaining action film, with plenty of stunts and fight scenes. The choreography of the fighting is excellent, making for some gripping moments of stylised combat. Performances are less than impressive though, with plenty of cheesy lines and awkward heroism.

Some of the action sequences borrow a lot from modern movies, in particular the slowed-down-then-sped-up technique so obviously taken from 300. However, these are still the most entertaining parts of the movie, with impressive numbers of henchmen flocking the scene to be ass-whipped by these sword flailing champions.

The film offers nothing new to the endless story of the Musketeers, but rather follows happily in the tradition of costume-period tomfoolery.

Rango (2011)

A chameleon, lost in the desert, becomes the sheriff of a small town of animals called Dirt, by pretending to be the hero they need.

Voiced by Johnny Depp, Rango is a simple house pet who gets accidentally thrown from his protective environment, into the harsh conditions of the scorching desert. In his quest to find water, he happens upon an unusual acquaintance called Beans, who shows him to her town of Dirt. When Rango arrives, he is terrified by the lawless inhabitants, but manages to concoct a wild fantasy about being a heroic gunslinger, which wins the respect of most of the townspeople. The mayor, seeing a new hero in Rango, makes him the sheriff.

However, disaster strikes when the town’s pitiful water supply is stolen, leaving them stranded in the hot sun. Now, Rango must round up a posse from the town and find the water, becoming the hero that he is pretending to be.

A marvellous animated film, Rango is brilliant for several reasons. First of all, the detail in the animation is stunning, some of the sequences are quite moving, whilst the colours and variety of action sequences were skilfully executed. Secondly, the moments of slapstick comedy which pervade the film are hilariously timed, giving the film a wide appeal. And, thirdly, the pace is well structured so that, at no point, was I wishing it along, which can happen a lot in family-oriented films.

The character of Rango is a complex and intriguing one. His ability to change colour according to his situation/surroundings seems to reflect his lack of identity. Before the desert, he had only the company of plastic toys who didn’t respond. However, through his epic adventure, he learns just what sort of chameleon he is. Johnny Depp was an interesting choice to do the voice, adding a certain level of expectation to the film. At points his voice seems unmatched to the character, standing out as Johnny not Rango. However, for the most part, Depp provides a wonderful mix of high/low tones, panic and confidence.

Watch this if you like comedy animated films, like Ice Age or Toy Story.

Brilliant.

Water For Elephants (2011)

A young student uses his veterinary abilities to gain a place in a travelling circus during the Great Depression.

Jacob Jankowski (Robert Pattinson) was a promising student at the prestigious American college Cornell studying to be a vet, until his parents were killed in a car crash, and left him homeless with no money. During a long walk to the city looking for work, Jacob jumps on a passing train, only to discover it is a travelling circus. A gruelling and harsh workplace, Jacob must provide a useful service in order to attain a job (a hotly desired item during this period), and so uses his abilities with animals to help the circus.

The circus’ star attraction is the dazzling Marlene (Reese Witherspoon), whom Jacob quickly develops a crush on. Unfortunately for Jacob, Marlene is the wife to the circus’ violently quirky master of ceremonies August (Christopher Waltz), whose fierce temper and desperate attempts to avoid bankruptcy make him a dangerous man.

As their show slumps from town to town looking for paying visitors, August realises he needs another big thing to attract audiences, and buys an elephant called Rosie. His wife Marlene will ride her in the show, and Jacob will train/aid her offstage, putting the two in close quarters.

Picturesque throughout, Water For Elephants manages to create a very contrasting picture of 1931 America. The vibrant lifestyle of these circus performers is represented in the colourful images of them enjoying life on the road, laughing together, and having raucous fun drinking whisky. But, the drudgery of the Depression era seeps in through the uncertainty on their faces during their performances, and their constant fear at how August will react next. It is a lovely film to watch for its authenticity and dark splendour.

Pattinson, eager to shed his Twilight-Saga stamp, plays quite a likeable and funny character: Jacob is endearing, smart, and passionate whilst enjoying some of the lighter side of depression life. Witherspoon elevates the film somewhat, adding a great deal of complexity and anguish to her troubled character. It must be said though, that the show was stolen by Waltz, whose portrayal of the evil, yet understandably angry, August, makes for a tense viewing.

An unusual tale of circus life in the thirties, it is a film to watch for the dramatic appeal, and visual authenticity.

Forgetting Sarah Marshall (2008)

Jason Segel writes and stars in this hilarious break-up comedy, with Mila Kunis, Kristen Bell, Paul Rudd, and Russell Brand.

Peter (Segel) is unceremoniously dumped by his actress girlfriend Sarah Marshall (Bell), after she reveals that she is with another man, a free-loving modern hippy rocker (Brand). So Peter goes off to Hawaii in order to lick his wounds. Unfortunately, once he arrives, he discovers Sarah and her new partner are staying in the same hotel, making Peter’s recovery from their long-term relationship extremely difficult. He sees them in the lusty hunger of new love, and rather than trying to move on, ends up wallowing in despair and crying unendingly.

Until, that is, Peter gains the attention of the hotel receptionist Rachel (Kunis), and the two enjoy a holiday romance that competes with Sarah Marshall and her rocker. As the two relationships become entwined within this beautiful location, heartbreak and hilarity ensue.

Continuing in the footsteps of a lot of Hollywood comedies recently, the makers have taken what is quite a simple story, put it in some exotic location and hoped to disguise it as something new. However, while the premise is redundant, the writing shines through. Segel, a promising comedy actor, has managed to capture many of the uglier truths about breaking up within his writing, making the film seem more human and less superficial. His character’s reaction to the whole event is very un-heroic, yet lovable, making him a perfect leading role.

The script is very funny in places, although tragically clichéd in others. Some of the subplots involving other characters on the island seem trivial and go unexplored.

Overall, though, the film had laugh out loud moments, an enigmatic leading actor, and even Russell Brand manages to impress with his lazy British accent and loose ideals.

The Next Three Days (2010)

Distraught husband Russell Crowe plans to extricate his wrongly convicted wife from a high security prison.

Lara Brennan (Elizabeth Banks) is convicted of killing her boss in a car park, as her fingerprints were on the murder weapon and she was seen leaving the scene of the crime after having a row with said boss. Her partner John (Crowe) and their son Luke are left to fend for themselves, but as her time in incarceration begins to take a toll of Lara’s life, John begins planning a complex jailbreak in order for them to be together again.

After gaining some tips from a multiple escapee, played by Liam Neeson, John must fine tune his plan in order to avoid the plan failing, and the two ending up dead.

An intense film, one that captures the ordinariness of the character of John really well. Instead of having some meathead hero who knows how to hotwire cars and recover from bullet wounds, John is just a simple teacher, who has to research every part of his plan thoroughly, and makes plenty of mistakes along the way. His determination to free his wife takes him on a tough journey, and he must face some difficult questions, such as: is his wife actually innocent? And is he prepared to lose everything in order for them to be together again?

Possibly slightly on the long side, the film runs over two hours when it doesn’t need to, but the majority of it is quite thrilling. Good performances from Crowe, Banks, and Olivia Wilde, this is an enjoyable action thriller.

The Joneses (2009)

Keeping up with the Joneses can be tough on white collar America!

When a new family move into a wealthy, white-picket suburb, their lives seem to be picture perfect to their unsuspecting neighbours. However, these Joneses have a secret. They are not a family at all, rather four individual salespeople grouped together in a “unit”, in order to infiltrate rich neighbourhoods and promote the latest goods in fashion, technology, and other businesses, to make massive sales. Their job is to pretend to have the perfect lifestyle, with plenty of success, whilst wearing certain clothes, using certain gadgets, and attending certain parties. Their progress is monitored by how much influence they have in making those around them buy the products.

As the “Joneses” become hugely successful amongst this new town, they begin to question the morality and ethics of their employment, as well as try to figure out what kind of relationship they have with each other, and what they want from life.

The Joneses is an entertaining film for a couple of reasons. First of all, the lead character of Steve Jones (David Duchovny), whose newbie attitude to this role of secret salesman makes for a brilliant evolution during the film, giving us some great comedy moments, as well as poignancy. Second of all, is the dynamic between him, and his fake wife Kate (Demi Moore). Their relationship is quite complex, as Kate is in fact the overall head of their unit, as well as a competitive saleswoman. Steve becomes confused about his feelings for Kate, as they begin to develop a form of intimacy that seems alien to both of them.

While the idea for the film was good, and it was an entertaining watch, it must be said that this film is confounding. On the one hand the makers make some very obvious comments about consumerism and capitalism, whilst working with a foundation that is essentially very superficial. Images of luxurious houses, fancy sports cars, and awesome golfing gear make up a significant part of this movie - it almost seems like an extended version of MTV Cribs!

This being said, the film contains a couple of dark moments that help its cause, and the central “family” dynamic makes for an interesting watch.

Marnie (1964)

A career con-artist falls prey to a forgiving boss, who wants to try and change her ways.

Marnie (“Tippi” Hendren), is a troubled thief, who scams the places that employ her, in order to steal money and send it home to her poor mother. Her plan becomes deeply complicated though, when her current boss (Sean Connery) recognises her from a business that was robbed recently, and becomes curious about her plans. When he catches her red handed, instead of turning her over to the authorities, he makes her his girlfriend, and tries to uncover the secrets she is hiding.

A wonderful psychological thriller, with two amazing actors. The performance from Connery is laden with charisma and charm, whilst providing an equally intriguing character next to Marnie. Hendren is simply brilliant as the complicated Marnie, she has to act like she is acting, and the result is a wonderfully engaging portrayal.

For character exploration, this film is perfect. We see an angst-ridden young woman who seems to deny any help or comfort from another person, who only wants to be loved by her mother. And, as the plot reveals itself, there is a complex reason for her disturbed behaviour.

The film is impressive in terms of the complicated plot, and the special effects which are used. A degree of lag occurs during the middle to last section of the film, where the events seem to be going nowhere, but the ending is altogether worth watching.

A Hitchcock film to rival the likes of Psycho and The Birds.

Pet Sematary (1989)

A Stephen King horror about a family living near a makeshift cemetery for pets, who are being killed by a busy road nearby.

The Creed family have just moved into their new home, when a neighbour pops by to tell them that the road they live next to, the one with loads of trucks roaring past, will inevitably kill any pet they own. He then goes on to show them the “Pet Sematary” which has been built over decades by families who have lost pets in the nearby area, and hints at some kind of spooky power that lies beyond.

When the cat of the family dies, Louis (Dale Midkiff), the father of the family, is told by the neighbour that there may be a way of saving the cat, in order to protect his daughter from sadness. He takes Louis to an sacred Indian site, just beyond the cemetery, where they bury the cat, and return home. A few days later, the cat reappears, but is not quite the same jolly little kitten.

A shocking horror film, with a few nauseating scenes, Mary Lambert, the director, has managed to capture some of the grotesque fascination which people love about King’s writing. The film itself seems a little dated, using some outmoded techniques to elicit an audience response, but on the whole it was an engaging scary movie.

The acting was nothing special, with performances very reflective of 80s films, and the script seemed quite wooden in places, even if it was written by Stephen King himself.

If you are a fan of Stephen King, this movie will probably suck compared to the book, but, having read none of his novels, I enjoyed the story being told here.

Skyline (2010)

An alien invasion film from the Strause brothers…it makes Independence Day look like Citizen Kane!

When a couple attend a friend’s birthday bash in L.A. their trip is turned into a desperate attempt to avoid a horde of extraterrestrials, who want to harvest their bodies. Using a “beautiful” glowing blue light, the aliens lure the humans in, before gobbling them up and using them for reasons unknown.

Set almost entirely within the confines of a plush hotel, Jarrod and his pregnant girlfriend Elaine try to find a way past these harvesters, and to the supposed safety of open water, whilst the U.S. army tries its best to shoot the invaders down.

Arguably one of the worst films I have seen this year. From the outset, the story is bulked out with irrelevant subplots, like Jarrod’s (Eric Balfour) career as an artist, or Terry’s (Donald Faison) super-awesome lifestyle. Too much time is spent watching them freak out in the hotel room, and there is not enough engagement with the aliens. Some of the CGI moments are impressive, once they get started, in particular when terry is stomped on by one of these huge aliens whilst he is trying to escape in a luxury sports car.

Alien invasion films can often fall into the shallower waters of filmmaking, depending too much on shock factor without enough substance, but Skyline seems to avoid both! A poorly chosen cast, combined with a mundane plot, made for a very disappointing viewing.

Cinderella Man

Magnificent boxing film, based on a true story, about James Braddock, a professional boxer during the era of the Great Depression in America.

Russell Crowe stars as James, a boxer from New Jersey. His initial entry into the sport was greeted with mild success, but after a string of defeats and injuries, as well as the onset of the market slump, he had to abandon his career in boxing in order to provide for his family. An honest and decent man, James didn’t bear any grudges, and simply tried to do right by his family, teaching his kids to be upstanding citizens, even during the harsh times. But, when a chance to compete in the big arena of Madison Square Gardens, comes up, he just had to take it.

His wife, Mae (Renée Zellweger), is anxiously worried that her husband will end up killing himself in the ring, leaving the family to fend for themselves. And, as James’ opponents become tougher and tougher, that fear becomes increasingly likely.

Boxing films have a unique ability to combine underdog grit, with brutal entertainment. Many films that deal with the subject of boxing are often based on true stories, suggesting that fighters make for the best protagonists. Cinderella Man uses a very compelling character, but also shows him in a totally engaging setting. By using the theme of boxing during the Great Depression, the film is able to combine the hope and agony of the sport, with the devastation of a nation, allowing us to see one man’s struggle for greatness, whilst those around pin their hopes on him.

Cinderella Man is a triumph of a film. Representing a heart warming and touching story with great deals of suspense and drama. Both Crowe and Zellweger are impressive within the film, as well as Paul Giamatti as James’ trainer Joe. Very few films have the ability to get me on the edge of my seat, but this one literally did. The beatings that this guy had to take, juxtaposed with the victories he claimed, are a completely turbulent ride, one which I would gladly take again.

Just Go With It (2011)

Adam Sandler and Jennifer Aniston star in this unlikely Rom-Com about a man trying to impress a girl, by pretending he has an ex-wife and children.

Danny (Sandler) is a successful plastic surgeon, whose romantic life consists of telling women he is unhappily married to a monstrous wife, so that they will sleep with him and not expect any kind of commitment. A system that seems pretty fool-proof, until he meets a girl called Palmer, whom he does want a commitment with. In the aftermath of a night of passion, Palmer mistakenly believes that Danny is married, after she finds a wedding ring in the pocket of his jeans (the one which Danny usually wears to trick chicks). Instead of telling the truth, Danny opts to create an imagined wife Katherine (Aniston), who is usually the secretary at his work.

The pretence becomes further enlarged after Katherine accidentally lets it slip she has children. Now Danny must pretend to have a whole family, in order to keep the trust of Palmer whom he is falling in love with.

A typically farcical story, one which represents Sandler’s current status as middle-of-the-road filmmaker. Like many Rom-Coms, you can spot the outcome a mile away, and instead of opting for some sense of tragedy or sadness, they keep with the happy smileys. That is not to say it wasn’t an enjoyable film, there were some good comedic moments, and the script was quite witty in places. Also, the scenery is gorgeous to look at, especially once they get to Hawaii. It is just that from the man who brought us such enduring comedies as: Happy Gilmore, The Waterboy, and Little Nicky, we expect a lot more.

Watch this for a few laughs and a switch-off, and quite a lot of scantily clad frivolity.

Pirates of the Caribbean: On Stranger Tides (2011)

More shenanigans from everyone’s favourite pirate, Captain Jack Sparrow.

A fourth instalment to the famously popular Pirates of the Caribbean series, this time sporting a slightly altered cast. Johnny Depp continues on as Sparrow, but there is no Orlando Bloom or Kiera Kightley. Instead, Penélope Cruz arrives as the buxom beauty Angelica, and Ian McShane plays the cold-hearted Captain Blackbeard.

In true Pirates form, this film has a fantastical journey in search of a myth, this time the Fountain of Youth. A place where two people can visit, and, with the right ingredients and methodology, transfer the years of one life to the other. Like any story about eternal life, there are plenty of goodies and baddies in search of it, and, as always, Jack is the central figure. As several bands of men race towards the fountain, Captain Jack must try and stay ahead of the game, and avoid the deathly punishment of Captain Blackbeard.

It is a decent family film, and a worthy successor to the troublesome third film (one which was immensely confusing, and way too dark). On Stranger Tides manages to recapture some of the original magic from the first film, and, rather than suffering without two of the major characters, the film seems to have been given a new life without them. Geoffrey Rush returns as Captain Barbossa, and gives a very impressive performance. Depp is brilliant as Sparrow, offering a bit of humanity to his character as he has a history with Angelica which becomes developed during the movie.

The stunts are as wacky as ever, and the dramatic filmmaking, with plenty of grand orchestral tunes and stunning landscape shots create a filmic experience that is very entertaining and enjoyable.

Brokeback Mountain (2005)

Two horse riders, working as sheep herders on Brokeback Mountain, struggle with their feelings for each other, and the destructive nature of their love.

Jake Gyllenhaal and Heath Ledger star in this brutal modern western, one that is both gripping and devastating. Ennis (Ledger) is a married man with kids, who has to find work wherever he can in the small town where he lives. Taking on jobs like sheep herding, ranching, and farming duties are his only way of paying the bills, and keeping his family from the poverty line. Jack Twist (Gyllenhaal) is an enthusiastic cowboy, who loves to bull ride, and wants his own ranch one day.

Ennis and Jack take a job on Brokeback Mountain, herding the sheep from one side to the other. Whilst on their journey, the two begin to form a close bond, one that is difficult for them both to register, especially for Ennis. At first it seems like simple camaraderie, but they soon realise they want to be together, and experience a savage lust for each other. However, once the job is done, they have to go back to their old lives, a world that is unwilling to allow two men to live together. The film follows the lives of Ennis and Jack, as they try to go on without each other, only allowing themselves sneaky reunions on the mountain, and how they become violently frustrated with their situation.

It is an outstanding film, one completely founded on two amazing performances. The two lead actors provide an undoubtedly brilliant display of complex emotions and inner battles. Ledger is superb as the rage-filled yet stoic man, offering some spectacular outbursts of emotion, whilst Gyllenhaal is wonderful as the optimistic, naïve lover whose pursuit of freedom fights with his love for Ennis.

There was much controversy with this film, in particular with the infamous sex scene. Whilst difficult to watch, it is an important scene, as it shows the raw feelings of these two characters, and also the way their masculinity is not diminished. It is a darkly entertaining film, with engaging characters and a devastating story.

If you are a fan of intense dramas, character exploration, or amazing dramatic performances this is a brilliant film to watch.

Legend of the Guardians: the Owls of Ga'Hoole (2010)

A war is brewing in the owl community, between the Pure Ones and the illusive Guardians.

Soren is a young owl, still learning how to fly with his brother Kludd. But one day, during one of their lessons, they accidentally fall from the safety of their tree, and land on the ground, a place no owl wants to be as they become the prey for other animals. They are rescued by some unknown older owls, who whisk them away from their home, and take them to a fortress in a mountain.

Soren and Kludd are soon told that they are now in the clutches of the Pure Ones, who want to use them both as part of the army they are forming. Soren, refuses and is thrown into the lower ranks as a slave, but Kludd, seeking power and status, joins up. As Soren watched his brother soar as a warrior for the pure ones, he must make a daring escape, and seek refuge with the Guardians. Since childhood, Soren has heard stories about the legend of the Guardians, and how they battled to free owls from tyranny, but, as he flies to their supposed sacred tree, he soon realises it could be possible they don’t even exist.

A beautiful film to watch for the CGI; the delicacy of the birds, and the scenery. So much work must have gone into a film like this to make it such a visual treat, but, unfortunately, that is all it is. The plot fails to evolve into a marvellous story that is never-before-seen, opting instead for generic themes of bravery and fighting evil. The characters are not memorable, like they are in Disney and Pixar films, and their struggles seem quite irrelevant.

Owls were a peculiar choice for a film, they are not the most exciting of creatures, but the makers have managed to add a degree of danger and bloodshed to these mostly boring animals. The fight scenes are with talons, claws, and swords, conjuring some dramatic moments.

Overall, though, this is a very mediocre CGI kids film, one that most kids would get bored of. Kids and family films can provide some of the best entertainment, as they have the challenge of entertaining everyone, and some of the best make it into a lot of people’s top 50 lists - such as Shrek, Toy Story, and Aladdin. Unfortunately, I don’t think the owls will be swooping in any time soon.

Shadow of a Doubt (1943)

Hitchcock delivers a wonderful film about a young woman who suspects her Uncle Charlie of being a serial killer.

Set in the beautiful, picket-fenced suburbia of the U.S., a family is thrilled with the announcement that their estranged Uncle Charlie will be coming to visit. His presence immediately lights up the lives of his family, in particular his namesake niece, Charlie. However, small discrepancies soon emerge in Uncle Charlie’s story that make him seem to be living a lie. While the family go on in blissful unawareness, girl Charlie starts to investigate her Uncle. With detectives hot on the trail of Uncle Charlie also, his options become limited, and now he must plot to kill his niece before she uncovers his secret.

It is an impressive film for its time, emerging before the end of WW2. The story, based on a short story, is hugely captivating, and the tense stand-offs between the two Charlies are thoroughly entertaining. It lacks much of Hitchcock’s later prowess as a director, but still has a more familiar and heart warming approach.

The performances are worthy, although seem very dated (which is understandable). Shot in black and white, the film has a nostalgic quality, which, coupled with the films interesting plot, make it a film that will live on in the history banks.

Not the best Hitchcock, but an old film worth watching for the theatrical-style plot, and the early tension building mastery.

Never Let Me Go (2010)

A devastatingly brilliant film about the uniqueness of life, and our desire for more.

Set in a parallel Britain, during the latter half of the twentieth century, the film follows a group of kids who will one day become “donors”. Medical advancement has meant that using organs from a donor will fight against deathly diseases and illnesses. The solution, therefore, was to cultivate organs from actual people, who were only born and raised to perform this function. Schools were created for them, they were kept under strict supervision, and their entire lives are formulated so that they will grow up to donate their organs for the rest of the world.

Three donors form the basis of the film, as we see them journey through their tumultuous lives. Tommy, a shy boy who struggles with his place in the world, is befriended by Kathy during the childhood. The two form a close friendship, but it is one that is ultimately ruined by Ruth, who becomes jealous of the two, and sets her sights on Tommy. Kathy is left isolated, as Ruth and Tommy begin dating, but all three find it difficult to come to terms with their roles as donors, and seek ways of preventing their inevitable demise.

Andrew Garfield, of The Social Network fame, plays Tommy, and delivers what is undoubtedly a spectacular performance. Opting for an awkward and quiet delivery throughout makes him an extremely likeable character, even though he is essentially foolish and weak. Keira Knightley plays Ruth, and portrays the deviousness of her character well, whilst displaying the overriding insecurity and vulnerability which seem to cripple her on the inside.

Based on a book, the film delivers the hard hitting message about the dangers of medical science, and the tender frailty of life, with superb results. Be warned, it is a drama with plenty of character exploration, and does not provide an equal measure of action sequences to offset it. The film does lag towards the middle section, and then jumps forward quite rapidly, but overall it is an engaging piece of film with terrific performances.