The Top 10 Worst Films Of 2013

10. The Odd Life Of Timothy Green

Yes, it's Disney. Yes, it means well. Yes, it has an amiable cast but...it's just far too cutesy for its own good. 

The Odd Life Of Timothy Green is the tale of a young couple (played by Joel Edgerton and Jennifer Garner) who find they can't have a child, so they decide to bury a series of notes in the garden of the qualaties their "dream child" would have. Lo and behold, a son (CJ Adams) arrives with leaves on his legs...yes, leaves on his legs.

Whilst I often have particular distain for films which teach a bad moral lesson, I will grant that The Odd Life Of Timothy Green has the opposite problem. It means well, but is very clumsy. It's a slobbering and poorly-trained puppy dog of a movie that will arouse chuckles of incredulity rather than sighs of annoyance. The plot is, for all that it's unique, rather goofy. The actions and motivations of the characters are often very strange, the characters are arch stereotypes and the film has an interesting take on the use of plants (including a pencil made of leaves). The role of Timothy is also badly written, with a small boy with dialogue like you would hear from a thirty-year-old man.

It's harmless and good-natured, but you should only approach it if you have an incredibly high tolerance of schmaltz.

9. 47 Ronin

Sometimes I feel people are a little rough on Hollywood. They treat jt as a factory for producing nothing more than artless syrupy garbage devoid of artistic integrity, overlooking the staggering amount of classics that have poured out of major Hollywood studios as long as that iconic sign's been resting in the Hollywood hills. The worst thing about 47 Ronin, a Universal picture, is that it can be used as an example for all the nay-sayers and cynics.

The film is an "adaptation" of an important Japanese folk tale, extracted to include a white (well, half-white but played by Keanu Reeves) hero, a romantic sub-plot and fantasy creatures that had zero place in the original story and are blatant attempts at jamming marketable ideas into a story that is treated with little of the reverence it deserves.

The film looks interesting and employs a cast of Japanese actors that have some stature in the west (Tadanobu Asano, Kou Shibasaki, Rinko Kikuchi) whilst also playing true to some aspects of Japanese culture, but the film's fallacies with history and culture are all the noticeable whilst Keanu Reeves (an actor who has done better than his wooden reputation might suggest) really feels out of place and not on his a-game. The film foolishly got an earlier release in Japan where it was met with scorn and you don't have ti be Japanese to see where they found the problems.

8. Beautiful Creatures

It seems that you can't move without bumping into film adaptations of teen novels these days. Occasionally some of these, like the Hunger Games adaptations, are actually pretty good. But for every Hunger Games there's usually one or two films like Beautiful Creatures.

Ethan Wate (Alden Ehrenreich) meets the literal girl of his dreams in Lena Duchannes (Alice Englert) but Lena's grandfather is the decidedly odd Macon Ravenwood (Jeremy Irons) a pariah in the town whose people think he's a devil-worshipper. He's not, but he's part of a family of witches and when Lena turns sixteen she will be made into either a good or bad witch and a battle over the future of Lena, and the town of Gatlin, plays out.

The film has obvious Twilighty overtones that push it rather firmly towards that same cloying melodrama that represents the worst associated aspects of such fiction. In a world of good and evil, the film deals in simplistic characterisations, especially within the town of Gatlin, that is portrayed with he most derogatory stereotypes of conservative small-town mentality. A depiction that, give the film's supposed stance on not jumping to negative conclusions on people, cones off as hypocritical.

Emma Thompson and Jeremy Irons may seem as promising casting but the simplistic and over-emotional nature of the story means that their performances are thrown directly into hamminess that can be amusing, along with the tacky dialogue, but this film offers little serious reward.

7. Justin And The Knights Of Valour

Justin (Freddie Highmore) wants to be a brave and courageous knight despite the wishes of his father (Alfred Molina). Teaming up with a feisty girl (Saoirse Ronan) and a batty wizard (David Walliams) Justin must drive out a spurned knight, Heraclio (Mark Strong), and save the day.

On the one hand, Justin And The Knights Of Valour had some things going for it. Few other films of 2013 can compete in terms of sheer star power and sword and sorcery epics, in the right hands, can be brilliant. Justin And The Knights Of Valour is, however, derivative and aesthetically rather ugly with a cast that sound like they're rather be dong anything else (or were perhaps doing something like the housework whilst absent-mindedly thumbing through the script).

In the aftermath of the Shrek series (of whom actor Antonio Banderas produced this Spanish film) there has been a glut of animated fantasy films, such of which like How To Train Your Dragon (2010) have earned critical acclaim, Justin And The Knights Of Valour was, however, a stumble in the wrong direction.

6. Olympus Has Fallen

One of the most notable movie rivalries of this past year was between White House Down and Olympus Has Fallen; two films that take the same premise of a member of White House security having to take on terrorists, following an attack on the building. Ultimately, Olympus Has Fallen won out at the box office whilst White House Down did poorly in the US (though it did gain more popularity in the wider world) but between the two, Olympus Has Fallen is a distinctly inferior effort.

The film's effects leave a little to be desired and the plot is nothing new, but the main issue is how the enemy is portrayed. Putting to one side that there's no way a North Korean terrorist organisation has weapons technology ahead of the US, the film's hawkish attitude towards North Korea and terrorism puts me in mind of the most disturbing pro-war views and ravings as well as providing some rather uncomfortable moments, like suicide bombers and the fact that almost all the East Asian cast (save for those playing the necessary South Koreans) play the enemy. 

More could've been done with the situation in the bunker under the White House (especially when you consider you have Morgan Freeman, everyone's favourite actor playing a fictional president...and god) whilst Gerard Butler rampages about, shooting at the baddies. White House Down, for all its follies, was a silly action romp that could laugh at itself and its plot (such as the infamous line, "The President has rocket launcher) it's the dead-pan and rather unnerving way in which Olympus Has Fallen unfolds that has provided its own downfall. 

5. The Mortal Instruments: City Of Bones

With a poor taking at the box office, The Mortal Instruments: City Of Bones has fallen at the first hurdle and the seeming promise of more grows ever-distant. Yet another film in the long stream of teen fantasy film adaptations, City Of Bones follows young Clary (Lily Collins) as she discovers that she can see a whole secret world half-angel Shadowhunters are locked in a world of demons and Clary also discovers that she is a shadow hunter.

Much has been made of how generic The Moral Instruments is leaning heavily on the likes of Twilight and Harry Potter but whilst the film's darker elements could've been explored towards a more original end, we instead get a film that is both forgettable and lacking in originality. The character of Jace in particular almost seems like a caricature of a male love interest for the genre, wide-eyed, pale and just a little too scary whilst the romantic sub-plot goes for originality and is then just tossed aside.

With more panache and originality, The Mortal Instruments could've been impressive. As it is, it sadly fell apart before it even began.

4. Playing For Keeps

Another showing on this list for Gerard Butler is this rom-com that flew a little under the radar. Butler plays a retired Scottish footballer living in the US, now looking to pursue a career in broadcasting as well as coaching a youth team that son plays in. He draws the attention of three separate potential love interests (Catherine Zeta-Jones, Judy Greer and Uma Thurman) but he seems particularly stuck on his ex-wife, played by Jessica Biel.

 Playing For Keeps has a number of major problems with its rather limp execution and the saccharine tone that affects the very worst romantic comedies. The script is pretty poor and the plot is excruciatingly flawed. Whilst Zeta-Jones, Greer and Thurman (all three are fine actresses whose presence here is a little sad) make for some divergence from the plot, it's incredibly predictable how things work out and despite the romantic angle between Butler and Biel, there's actually little justification for it other than the child. 

The new man in Biel's life (undeveloped as he is) seems rather decent and really comes off as a victim of the romantic plot. Above all else, the schmaltzy way it's presented...the over-simplified way it deals with its characters...the lack of any significant insight... Playing For Keeps has one moral that is flawed. The idea is that a couple that has a child is always better off staying together. Sometimes, it's just for the best that they are not. Biel and Butler are such an example.

3. Texas Chainsaw 3D

In 1974, Tobe Hooper's low-budget pseudo-slasher, Texas Chainsaw Massacre was unleashed onto an astounded audience, and provided the world with one of the most intense, visceral and terrifying movies ever made. Texas Chainsaw Massacre 2 followed in 1986 and, whilst gaining a following as a cult film all its own, the lighter and more comic tone has divided fans. Since then the series has gone onto lumber around, much like the iconic Leatherface, to poor response.

Texas Chainsaw 3D was probably never expected to be a darling with critics and these low expectations are justified. The film largely takes its cue from the original classic, only set eighteen years on with the baby survivor of a mass shootout on Leatherface's cannibal family now fully grown...and in a contemporary environment despite mathematically the character's age would place us somewhere in the early-90's. Alas, thinking is not the film's strongpoint and the film indulges in the basest problems that the horror genre is often labelled with. 

An over-emphasis on gore (ironic, given the original Texas Chainsaw is such a strongly impacting horror film, even while it's almost entirely bloodless) and a tiresome 3D gimmick are on display, the cast are an unmemorable procession of slasher stereotypes (including the rather talented Tania Raymode, here reduced to mere eye candy) and, whilst the film does try and veer towards a sense of camp, it doesn't even pull that off very well. Generally, it's best to just stick with the brilliant initial instalment in the TCM franchise, of which there is an entire sequence that's pasted onto the start of this film.

2. The Host

Poor Saoirse Ronan. One of the most talented young actresses out there and she's here on this list twice. Of her four films in these last twelve months, Byzantium was an interesting vampiric drama, How I Live Now was an acceptable war thriller, Justin And The Knights of Valour, for all its problems at least had Ronan in the most interesting role. The Hoshi is just a fundamental failing in film-making.

Adapted from a book Stephenie Meyer (of Twilight fame), The Host follows a young girl (played by Saoirse Ronan) is only partially infiltrated by an alien intelligence that's part of an international invasion as the girl tries to evade capture. Any sci-fi fan worth their salt will probably pick up on the similarities with Invasion Of The Body Snatchers (1956) from the start, but whilst Body Snatchers had a sinister and mysterious undertone, The Host plays its premise gleefully discarding of all understatement.

Key to this is the lack of regard to the principal of "show not tell", a vital strength of film as a story-telling medium. A concept like The Host's admittedly wouldn't work if it was all played in suggestion with no explicit interaction between Ronan and her host invader but every interaction is spoon-fed to the audience with no regards to ambiguity or nuance. The Host is ultimately a film of what you see is what you get and, even with the sci-fi trappings, it's the same generic teen drama (complete with awkward romance) that we've seen so many times before...only this time with an incessant voiceover and a tedious chase plot.

1. A Haunted House

When done well, the fusion of horror and comedy can work very well. This year, You're Next was given a release after two years in distribution limbo and provided ample laughter with screams. You're Next is how to do a horror-comedy

A Haunted House is how NOT to do a horror-comedy.

The film plays much closer to comedy, as an intended spoof of the Paranormal Activity franchise, but it is comedy at its absolute lowest ebb. Damon Wayans and Essence Atkins play a couple moving into a new home, but it quickly becomes clear that they're not the only ones calling the place home. From there, the plot spirals off into "hilarity".

Humour is subjective and different things make different people laugh. Jokes about bodily functions and getting high? It's not my thing but it has its place. But when this film also plays off attacking and, in another scene, raping a woman and plays it off as just part of the comedy, there's a problem. Mixed in with one of the most offensively outdated depictions of a gay man that you will find and parodies that have now been worn paper-thin, A Haunted House is not comedy...it is anti-comedy. It is making jokes out of things that in no sense should be funny and as a result earns "pride of place" as my least favourite film of 2013. 

The scariest thing? A Haunted House 2 is on the way...

Jackass Presents: Bad Grandpa (2013, Dir. Jeff Tremaine, USA) (Cert: 15/R) **

Starring: Johnny Knoxville, Jackson Nicoll, Greg Harris

With his wife (Catherine Keener) now passed on, eighty-six year old Irving Zisman (Knoxville) is looking forward to finally having a good time, only to be saddled with his grandson, Billy (Nicoll). Given the task of taking Billy to his selfish and criminal father (Harris), Irving and Billy go on a road trip and have many misadventures along the way.

Anyone with a passing knowledge of American pop-culture of the last twenty years, is at least somewhat familiar with the Jackass brand. Starting out as a show on MTV, Jackass's trademark is stunts that emphasise personal injury or creating a nuisance amongst the general public, usually the former more than the latter. Bad Grandpa places more of an emphasis on pranks than stunts and has an intriguing concept of framing a fictitious narrative around these pranks. However, for all its originality, Bad Grandpa is not going to please everyone.

It should go without saying at this point that the Jackass crew have their humour at a pretty low-brow level. That's fine for those who like that sort of thing (and humour is ultimately subjective, people don't have too much choice in what they find funny) but non-fans will probably have to look elsewhere for a laugh. As far as the execution if the pranks go, there's an uncomfortable element that presents itself and it's not hard to feel sympathy for the unsuspecting "victims", although this is slightly remedied by their reactions in the credits when Knoxville reveals his face (odd that so many fall for it, considering the not entirely convincing makeup). If you're a Jackass fan, then this is possibly worth checking out but its slightly ambitious concept doesn't surpass its crudity that can leave the unconverted with a bad taste in their mouths.

Next time, Chris Hemsworth returns to save the world once more in Thor: The Dark World.

Philomena (2013, Dir. Stephen Frears, UK/USA/France) (Cert: 15/R) ****

Starring: Dame Judi Dench, Steve Coogan, Sean Mahon

Having recently lost his job as a government spin doctor following a political snafu, Martin Sixsmith (Coogan) tries to return to his journalistic roots. At a party, he hears about a woman named Philomena Lee (Dench) an Irish woman and forced to give up her child for adoption from the convent where she lived to America. Martin and Philomena travel Ireland and America to learn about what happened to the child.

Directed by the acclaimed Steven Frears (whose previous work includes The Queen (2006) and High Fidelity (2000) and partly written and produced by cast member Steve Coogan, Philomena is a witty, warm and touching true tale of a woman exploring a life she had lost and her relationship with her faith. In the lead roles, Coogan and Dame Judi Dench both give strong and dignified performances with Coogan's particular flair as a writer for nuanced characters shining through. Martin Sixsmith is obnoxious but principled whilst Philomena has dramatic depth but also comedic warmth, which Dench ably supplies.

The film depicts both the Catholic church and the mass media in a critical manner, where a more complex argument could've served a better purpose whilst the film's plot is set up in such a manner that remarkable last-minute coincidences spring up with such frequency, it challenges how much of the story the audience can believe, but these are only minor pitfalls in an otherwise beautiful film.

Next time, recently widowed and not afraid to shock, Irving Zisman (played by Johnny Knoxville) takes to the road with grandson, Billy (Jackson Niccol) and pulling stunts on unsuspecting members of the public as they go in Jackass Presents: Bad Grandpa.

Ender's Game (2013, Dir. Gavin Hood, USA) (Cert: 12a/PG-13) ***

Starring: Asa Butterfield, Harrison Ford, Hailee Steinfeld

Fifty years after the human race survived a war with an alien army, there are still military forces being trained for future defence, with an emphasis on child recruits who are easier to train effectively. Ender (Butterfield) shows particular promise and his prodigious skills push him to the forefront of a forthcoming conflict.

Being that the science-fiction genre often deals with rather lofty concepts, writers often bering their own political and social ideologies into their work. As such, Orson Scott Card and his series of books from which Ender's Game is adapted are an anomaly. In a genre where the viewpoints are often very progressive (take, for example, Gene Roddenberry and Rod Serling in Star Trek and The Twilight Zone respectively as examples) Card has been the voice of conservatism and, resultantly, controversy. 

As a film, Ender's Game tip-toes around these ideas, prodding them in curiosity but maintaining a safe distance. Given the martial themes,  with child soldiers no less, the filmmakers have gone on record as distancing themselves from Card's views and the film mostly swerves around the contentious issues, to its credit.The casting features a number of talented young actors who have been acclaimed in other work; Asa Butterfield from Hugo (2011), Hailee Steinfeld from the Coen brothers' remake of True Grit (2011) and Abigail Breslin from Little Miss Sunshine (2006). Harrison Ford doesn't contribute anything revolutionary, but his presence in a film like this just feels right. Butterfield, for his confidence, is not quite believable enough as a prodigious leader of men, but this is more a fault of the problematic screenplay (which gives lines such as "it's basic rocket science") than anything else.

For the fact that it's flawed, Ender's Game will probably never become an enduring sci-fi classic; and unless the film does very well at the box office, I'm not sure if a sequel will be in the offing. Still, the film is tactfully, and at times impressively, executed,

Next time, Dame Judi Dench and Steve Coogan star in a real-life drama of a woman searching for her adopted son in Philomena.

Escape Plan (2013, Dir. Mikåel Hafström, USA) (Cert: 15/R) ***

Starring: Sylvester Stallone, Arnold Schwarzenegger, Jim Caviezel

Ray Breslin (Stallone) is a man with a gift. A gift to go into some of the most secure prisons and discover a way out. As part of his job, he goes undercover in these prisons and is contracted for a new secret prison used only for the most dangerous criminals. However, as his job begins, he is drugged and held captive in the prison, whilst those in charge seek to make him suffer.

To a certain extent, you could look at Escape Plan as Shawshank Redemption (1994) re-imagined as an over-the-top and brainless action movie. Whilst that does sound spectacularly promising, Escape Plan is no Shawshank but it is very entertaining. Much of the appeal of the film largely comes from the two leads in Sylvester Stallone and Arnold Schwarzenegger (although Arnie takes a while to show up) two hulking icons of 80's action cinema, now getting a little long in the tooth but still game to run around blowing stuff up. Jim Caviezel meanwhile plays the prison warden, seemingly borrowing a few lessons in villainy from Christopher Walken (specifically, the off-beat intonation, subtle as Caviezel does it) although the soft-spoken schtick does tire as he seems particularly more like unrealistic action genre cliche than the other characters (again, this is a film that features Stallone and Schwarzenegger, so it's quite the cliche).The supporting cast also features the likes of Curtis "50 Cent" Jackson and Vincent D'onofrio, who add detail but disappear for large amounts of the run-time and at times seem unnecessary. 

On a design level, the film is intriguing, bringing to mind more of that early-90's action movie aesthetic, with the prison scenes bringing comparisons to both TRON (1982) and Face/Off (1997) but the plot makes no sense (the prison seems both a government installation and at the same time, against the government. How does that work?  of the prisoners are Islamic fundamentalists who are seen praying, but how do they know, or even guess, which direction to pray in if they don't know where they are?). Were it made just five or ten years ago, this would've been straight-to-DVD but with films like The Expendables (2010) and RED (2010) being as popular as they are, this is getting wider exposure and there's something to be said for the benefit. It's dumb trash, but it's mostly fun dumb trash.

Next time, Asa Butterfield plays a young boy who becomes the subject of a new line of defence for humanity in the adaptation Orson Scott Card's sci-fi novel, Ender's Game.

Enough Said (2013, Dir. Nicole Holofcener, USA) (Cert: 12-A/PG-13) ***

Starring: Julia Louis-Dreyfus, James Gandolfini, Catherine Keener

Eva (Louis-Dreyfus) is a divorced masseuse who makes two new friends at a party; Marianne (Keener), a poet who becomes one of Eva's clients and Albert (Gandolfini) who works at a museum for television. Eva and Albert start dating and falling for each other. However, Albert also happens to be Marianne's ex-husband and during her sessions with Eva, she rants about Albert's flaws not knowing that Albert and Eva even know eachother.

Gentle but witty, Enough Said is also difficult to look at with acknowledging the sad and recent passing of the late James Gandolfini who in this film provides a warmth and charm alongside Julia Louis-Dreyfus who is aided by her veteran comic skills (honed by years on the highly popular sitcom, Seinfeld) in giving a strong performance. The writing doesn't really go for belly laughs but rather for a lighter touch. This helps in making the main couple seem largely likeable whilst also, in Gandolfini's case, highlighting the character's flaws. However, the script is also less favourable to other characters. Ben Falcone plays the largely obnoxious (but entertainingly played) husband of Louis-Dreyfus' friend (played by Toni Collette, in a rare case of using her natural Australian accent) and Eve Hewson (daughter of Paul "Bono" Hewson) plays the extremely rude daughter of Gandolfini and Keener to aplomb.

There's some problem with Keener's character of Marianne however as it probably would've been nice to show her as flawed but also nice, but she's often portrayed as a slightly pretentious complainer with few redeeming qualities. There's also a sub-plot involving Louis-Dreyfus, her daughter played by Tracey Fairaway and Fairaway's friend played by Tavi Gevenson that is well-played but unnecesary. All in all, despite a few minor flaws, Enough Said has solid wit, intelligence and heart.

Next time, Sylvester Stallone and Arnold Schwarzenegger must find a way out of a high-tech prison in Escape Plan.

Cloudy With A Chance Of Meatballs 2: Revenge Of The Leftovers (3D) (2013, Dirs. Cody Cameron, Chris Pearn, USA) (Cert: U/PG) ***

Starring: Bill Hader, Will Forte, Anna Faris

Having saved his hometown of Swallow Falls from his own food producing invention, Flint Lockwood (Hader) and the other inhabitants of Swallow Falls are temporarily relocated to San Franjose whilst a team of scientists, working for Flint's hero Chester V (Forte), clean up. Now working for Chester himself, Flint is eager to please and when he learns that the food on Swallow Falls is literally taking on a life of its own and may invade the world, he and some old friends decide to go and shut off Flint's machine, now producing these creatures,

A bright bouncing ball of fun, Cloudy With A Chance Of Meatballs hits screens in 2009 and has returned with a sequel (although there's acres of exposition at the opening so don't worry too much if you haven't seen the first). Cloudy With. A Chance Of Meatballs 2 is a perfectly fine, but inferior followup. The film works to its strengths when we're in the now-transformed Swallow Falls with bright colours and jokes that will make pun lovers feel like they're in heaven but in the buildup the film feels lacking in momentum, despite the bright colours and an energetic performance from Will Forte, who even in this animated universe, his Chester V is a very odd creation. The film's final showdown could've easily have been spoiled but the energy that it provides and some intriguing performances, one from a strawberry of all things, saves it.

Most of the cast from the first film has returned, but sadly missing are the vocal talents of Bruce Campbell and Mr. T, although T's replacement in Terry Crewes, playing the same role as over-enthusiastic and very manly cop Earl Deveraux does a fine job as well. Thankfully, Benjamin Bratt has more to do as the ever-brilliant and versatile cameraman, Manny and Kristen Schaal turns up as a talking orang-utan named Barb (although the character's story-arc feels a little underplayed). The film's 3D angle seems to have little rhyme or reason as the film's animation seems to focus more on bright and dynamic colours rather than flying objects but whilst those who didn't care for film one will not be won round by this follow-up, fans of the first film will probably derive some enjoyment from it.

Next time, masseuse and divorcee Julia Louis-Dreyfuss feels she may of met a good man in James Gandolfini. Unfortunately his wife (played by Catherine Keener) is a client of hers and happens to be Gandolfini's ex-wife, unloading all of his negative aspects onto her in Enough Said.

Captain Phillips (2013, Dir. Paul Greengrass, USA) (Cert: 12a/PG-13) ****

Starring: Tom Hanks, Barkhad Abdhi, Barkhad Abdiraman

Captain Rich Phillips (Hanks) is a veteran cargo ship captain from New England who routinely passes cargo far from home. Shipping cargo for the company Maersk, Phillips leads the Maersk Alabama on a course across the African coast that skirts near dangerous Somali territory. Desperate for money to pay their Elders, a gang of Somali pirates manage to intercept the ship and Phillips must do his best to makensure both the crew, and himself, survive.

Taken from the genuine account of Captain Richard Phillips of the Somali pirate hijacking he had in 2009, Captain Philips is a tense and claustrophobic thriller. The sense of enclosed space is made clear throughout with the camera always staying close to characters, particularly Tom Hanks who, as great an actor as he is, gives an uncharacteristically naturalistic performance as Phillips that makes his endeavour seem all the more harrowing. Our supporting cast is largely comprised of the Somali pirates who take Phillips hostage and who come to the screen with brilliant and desperate intensity. It's also a credit of the writing that the pirates aren't just faceless one-dimensional criminals but are men with somewhat sympathetic motivations, giving a sense of dramatic depth and richness.

The writing does also display some problems though. We get little sense of who the crew of the Alabama are except for Phillips making them rather faceless and inconsequential (even if, for a brief moment, there's potential for seeing a much darker side to them, but given these were based on real people that would've been too controversial) whilst the finale drags too much and a few of the elements could've been excised to increase the already substantial tension. There's also controversy over the real Captain Phillips. Here, he's portrayed largely as a level-headed hero, whilst there have been claims that the real Phillips got into that situation through recklessness and was not popular with some people who knew him. Still, if judged away from the factors of reality, this is a nail-clenching and rewarding film that pushes its 12a and PG-13 ratings to the limit.

Next time, Bill Hader returns as hapless inventor Flynn Lockwood, who goes to save his hometown of Swallow Falls (and ultimately the world) from creatures made of food in Cloudy With A Chance Of Meatballs 2: Revenge Of The Leftovers.

The Fifth Estate (2013, Dir. Bill Condon, USA/Belgium) (Cert: 15/R) ***

Starring: Benedict Cumberbatch, Daniel Brühl, Alicia Vikander

Attending a computing expo in Berlin, Daniel Berg (Brühl) meets Julian Assange (Cumberbatch) an Australian hacker and political activist, who runs a site known as WikiLeaks that leaks confidential information about governments and organisations that it feels should be known by the wider public. Assane and Berg become collaborators, eventually taking on the US government but Berg soon becomes wary of Assange's dogged determination and all-consuming obsession for his ideals.

 The stories of Julian Assange and his site, WikiLeaks, are continuing to unfold and already we're getting some big screen treatments of the unfolding news. Earlier this year, we had We Steal Secrets; a feature-length documentary on Assange and WikiLeaks. Now we're being given the theatrical film treatment. As such, being from such a fresh source of inspiration, The Fith Estate lacks the solid story that history could provide. The film doesn't so much conclude as it does take us to the here and now. The film also has its moments of over-stylisation; one early sequence dramatises an online conversation between Assange and Berg eith reflected lines of text that really comes off as more annoying than impressive. Still, their are moments of this slickness that impress and the hip score by the usually impressive and eclectic Carter Burwell is a highlight (especially a rate outing for the thoroughly-80's instrument, the fretless bass guitar). 

Bill Condon has made a career out of movies that peer into the lives of rather eccentric public figures. In 1998, his film Gods And Monsters took a look at James Whale, director of Frankenstein (1931) and Bride Of Frankenstein (1935) as well as one of the few openly gay men in 30's Hollywood. Kinsey (2004) looked at Alfred Kinsey, the controversial sexologist. Here, Condon's fascination falls on Julian Assange, even of it could be argued that Daniel Berg is the central figure. Benedict Cumberbatch brings a slightly ethereal strangeness to the WikiLeaks founder who seems to be portrayed as a man of firm principles but not of particularly great social skills (at one point, Assange mentions that he might be borderline autistic) and whilst he could be, on a certain level, admirable, he's not really likeable. Is the film a smear campaign on Assange? Not as such, even though it doesn't paint him in a very favourable light. Yet, for all the film's strengths, there's still the sense that this film probably should've been made after the current events have been left to settle.

Next time, Tom Hanks stars as the captain of a cargo ship overrun by Somali pirates in Captain Phillips.

Le Week-End (2013, Dir. Roger Michelle, UK) (Cert: 15/TBC) ***

Starring: Jim Broadbent, Lindsay Duncan, Jeff Goldblum

Philosophy professor Nick Burrows (Jim Broadbent) and his wife Meg (Duncan), a teacher, go away together for a weekend getaway in Paris. Over the course of their time away, they take a look at their marriage and its trials and tribulations alongside the Parisian scenery.

A quiet and often understated film, Le Week-End does initially seem to lend inevitable comparisons with Richard Linklater's trilogy of Before Sunrise (1995), Before Sunset (2004) and Before Midnight (2013) with the central conceit of being a romance film about two people wandering around a European city (in this case, Paris) and mostly just talking. However, Le Week-End is tonally rather different and often not shy about tackling some rather harsh home truths. Jim Broadbent and Lindsay Duncan are both good enough actors to pull off the dramatic sequences and when Jeff Goldblum turns up, he makes for great support as an old college friend of Broadbent's (of course his performance is just Goldblum being Goldblum but when is that not entertaining?). However, the film's way of navigating between comedy and drama is a little forced and personally, I would've preferred the film to be more humorous.

Still, the film has some sweet and memorable moments that really point towards the high marks of the film and for those just wanting some solid and good acting, Le Week-End is worthwhile.

Next time, Daniel Brühl is German computer whizz Daniel Berg, who gets caught up in an information and ideological crusade with Benedict Cumberbatch who stars as Julian Assange in The Fifth Estate.

Baggage Claim (2013, Dir. David E. Talbert, USA) (Cert: 12a/PG-13) **

Starring: Paula Patton, Derek Luke, Jill Scott

Flight attendant Montana Moore (Patton) is constantly under the scrutiny of her much married mother (Jennifer Lewis). Still unmarried, Montana is dreading turning up to her mother's latest wedding without a man so she gets a plan. With the help with her colleagues, Paula travels the country searching for a suitor out of her ex-boyfriends before the wedding in thirty days.. 

The story of a woman choosing between the various men in her life in who to end up with has been done before and done better (Spike Lee's debut, She's Gotta Have It (1986) for instance) here there's not much in the way of intrigue or intelligence. The latter is certainly missing given the wholly unnecessary voice over narration from star, Paula Patton. The jokes also fall largely flat as well, partly because the characters are uninteresting and often one-dimensional, though Taye Diggs clearly tries to make the most of things as a potential love interest/congressman. The film does have some heart as overused as the moral is and succeeds more at touching the heart than the funny bone. However, as harmless as Baggage Claim is, its also not worth rushing out to see.

Next time, Jim Broadbent and Lindsay Duncan play an ageing married couple going through the joys and miseries of married life (and Jeff Goldblum) in Paris, starring in Le Week-End.

Turbo (3D) (2013, Dir. David Soren, USA) (Cert: U/PG) ***

Starring: Ryan Reynolds, Paul Giamatti, Michael Peña

Theo (Reynolds) is a common garden snail who spends his days catching over-ripe tomatoes that fall from the tomato plant. In his spare time, he dreams of being a racer like Guy Gagné (Bill Hader), much to the annoyance of Theo's more down-to-earth brother, Chet (Giamatti). When Theo's sucked into the engine of a street-racer, nitrous oxide gets into his body and makes him an extremely fast snail/car mutation and Theo renames himself Turbo.

The latest offering from Dreamworks, Turbo is as fun and energetic as the name implies, but is held back a little by a few faults. Turbo doesn't do any favours for Dreamworks, as successful as they are, wanting to completely escape the shadow of Pixar, with this film inviting easy comparisons with A Bug's Life (1998), Cars (2006) and Ratatouille (2007). However, the film's dialogue is pretty enjoyable, with a particularly amusing opening act and the humour's surprisingly dark in places (though not so dark as to upset any but the youngest or most sensitive of youngsters). The juxtapositions between the snail world and our own also opens up to some predictable, but still rather funny, moments. 

In terms of story, the film falters a little later on when we get our first real glimpse of our supporting human cast. Michael Peña plays Tito, who owns a taco restaurant with his older brother (played by Luis Guzman) and whilst Tito is likeable to an extent, he can become tiresome. Meanwhile Ken Jeong plays another eccentric asian with a strong accent (although a woman this time) and Michelle Rodriguez plays yet another slightly sultry/slightly masculine woman who knows her way around machines. Still, there are few people who will deny that there's anything cooler than a snail who sounds like Samuel L. Jackson whilst Ryan Reynolds makes for a fittingly, and enjoyably, energetic lead as Theo.

Visually, Turbo isn't the most attractive film ever made. Snails make for a natural creature to animate well without much difficulty but humans have always been difficult for CGI and the abundance of them here does little favours.  Meanwhile, the 3D does manage to succeed with one strong usage (a fantasy of Theo's as he tries to get a big tomato away from an advancing lawnmower) but is otherwise pointless. As flawed as Turbo is, however, its got enough energy and pizazz to still ensure it isn't blown off the track.

Next time, Paula Patton has just thirty days to find the man of her dreams in Baggage Claim.

Romeo And Juliet (2013, Dir. Carlo Carlei, UK/Italy/Switzerland) (Cert: PG/PG-13) ***

Starring: Douglas Booth, Hailee Steinfeld, Paul Giamatti

In the city of Verona, two wealthy families known as the Montagues and the Capulets are engaged in a bitter blood feud. Romeo (Booth) a Montague, yearns for the love of Rosaline (Nathali Rapti Gomez) and in hopes to win her heart, he attends a ball held by the Capulets, in disguise. It is there where he meets Juliet (Steinfeld) and the two fall in love but with her being a Capulet, their love is forbidden by their warring families.

Probably William Shakespeare's most famous play, Romeo & Juliet has been a frequent recipient of film adaptations, the most notable to modern audiences being the 1968 adaptation by Franco Zeffirelli and the 1996 modern re-telling by Baz Luhrmann. This latest take on Shakespeare's tale of love plays mostly towards tradition with the addition of Julian Fellowes of Downton Abbey fame putting in his own little pieces amidst the work of the Bard. Of course, to put your own work in amongst that of one of the most beloved writers in history is no small task and much of the more modern forms of speech do become uncomfortably conspicuous and some of the minor alterations detract from the story (such as Mercutio being referred to as a Montague, whereas he's traditionally related to the peace-keeping Prince of Verona). The performances vary but are mostly satisfactory. The film's seeming to try and cash in on the modern teen idol craze is especially egregious when Douglas Booth first appears as Romeo, sculpting a bust and chest almost fully revealed through a largely open shirt. Paul Giamatti seems a little miscast as Friar Lawrence but makes the most of his role all the same.

Occasionally, the cinematography will shine (the iconic balcony scene is particularly well shot) but the film is also cast against a very down-scale and TV drama look that holds the film back from being beautiful but whilst the teen-romance angle may lead some to sneer at the film, Romeo & Juliet even in its original incarnation was teen-romance. The film certainly isn't terrible but isn't remarkable either. It's just okay.

Next time, Ryan Reynolds plays a snail who becomes a super-charged racer in the latest film from Dreamworks, Turbo.

Metallica Through The Never (IMAX 3D) (2013, Dir. Nimród Antal, USA) (Cert: 15/R) ***

Starring: Kirk Hammett, James Hetfield, Robert Trujillo

A young roadie (Dane DeHaan) works for legendary metal band, Metallica (Hamett, Hetfield, Trujillo, Lars Ulrich) and is given the task of carrying a can of gasoline to another location. On the way, he ends up in an accident caused by a large riot that he soon discovers he's right in the middle of. Meanwhile the band plays a blistering set including the likes of "One", "Enter Sandman" and "Master Of Puppets".

Anyone who has followed the lengthy and turbulent career of Metallica knows that this is not the band's first trip onto the silver screen. In 2004, the documentary Metallica Some Kind Of Monster looked at the long and difficult process behind their album, St Anger and proved how scarily true to life the classic mockumentary This Is Spinal Tap (1984) truly was. This time around, Metallica are the subject of a concert film...of sorts.

Throughout the film we're given a subplot of a skater caught in the middle of this slightly fantastical riot. This isn't the first time a rock band has made a concert movie that makes a note of deviating away from the main performance. Led Zeppelin's 1973 film, The Song Remains The Same trod a similar path but in the case of both films the sequences detract from the focus on the music; the reason why most people pay to see these kind of films. The sequences are well shot and, in their own way, interesting enough that it would've been intriguing to see the plot as a standalone film. However, Metallica are also animated enough in their performances (especially bassist Robert Trujillo and drummer Lars Ulrich) to maintain focus in their own right. Even when the band themselves get involved in a little bit of drama towards the end of the set, it just doesn't work.

Through The Never is getting a wide release in 3D and playing on IMAX screens and whilst the 3D is completely unnecessary the thunderous music makes full use of an immersive sound quality that IMAX provides. Make no mistake, your ear-drums will be in for a beating. The film won't win anyone over to being a Metallica fan and its clearly built with just the fans in mind. Fans themselves will probably enjoy the audio and the band capering onstage, but it's probably no worse if you skipped the film and bought the accompanying live album instead.

Next time, Hailee Steinfeld and Douglas Booth play star-crossed lovers in Julian Fellowes' adaptation of Romeo And Juliet.

Thanks For Sharing (2012, Dir. Stuart Blumberg, USA) (Cert: 15/R) ***

Starring: Mark Ruffalo, Tim Robbins, Gwyneth Paltrow

 

Adam (Ruffalo) is a sex addict and has been abstinent for five years and regularly attending group sessions, where he helps others with their addictions. Then he meets Phoebe (Paltrow) and the two develop a relationship. However, Phoebe doesn't know of Adam's addiction and when he truth comes out, trust starts to be tested.

 

For all intents and purposes, Thanks For Sharing presents itself in its promotion and its concept as a rom-com. This is only a half-truth. Thanks For Sharing subverts this by turning a genuine problem that is often played for laughs in fiction (sex addiction) and playing it for drama. The subject is handled compassionately but falls into the easy trap of being a little heavy-handed at times. On the rom-com aspect we have Mark Ruffalo and Gwyneth Paltrow (leading some to wonder if Hulk is stealing Iron Man's girl...the producer being Edward Norton only strengthens the Hulk connection) and the two have genuine chemistry; so much so that when they're in the same scene but not actually playing against each other, like when the two are holding a video chat, some of that spark fizzles out. 

 

There are two other plot lines present in the film. One focusing on Tim Robbins re-establishing a relationship with his for formerly drug-addicted son (played by Patrick Fugit) and the other being a friendship shared by two new additions to the sex addiction help group played by Josh Gand and Alecia "Pink" Moore, giving a confident performance in her official debut as an actress. The latter plot line works better , even of there really isn't enough there to support the film. Robbins and Fugit both give good performances but the story is cliche and predictable.

 

Whilst the film tries to go with both being an amiable romantic-comedy and a serious drama it's faintly humorous and the drama sometimes is played too strong and dark, with a revelation about a minor supporting character really pushing the film into water it's too deep for the film to swim in. In general, Thanks For Sharing is a film of two slightly satisfying halves making for a slightly satisfying whole.

 

Next time, metal gods Metallica take to the stage in an IMAX 3D exclusive, Metallica: Into The Never.

 

Filth (2013, Dir. John S. Baird, UK) (Cert: 18/TBC) ***

Starring: James McAvoy, Shauna MacDonald, Eddie Madsen

Policeman Bruce Robertson (McAvoy) works for he police force in Edinburgh and is looking to grab a hotly-contested promotion. A murder case seems to be the means by which Bruce can get his big break but his life of drugs and booze may just prove his undoing.

An adaptation of the 1998 novel by Irvine Welsh (the man who wrote Trainspotting), Filth promises to be a surrealistic and hedonistic journey through one man's life of substance abuse. Whilst much of the promotion surrounding this film has played up to a largely comedic affair, the film is in fact a lot more sombre for all that it is often very strange. The film flits between fantasy and reality which, whilst at times intriguing, makes for a film that as a whole is fairly difficult to connect with. As soon as one sequence is done with, another very different sequence is thrown in with little flow, losing some of the needed connection with the characters and plot. Although the film often goes down very strange avenues, the script and direction make the story in of itself followable despite the detachment. 

James McAvoy (who earlier this year starred in the also off-kilter thriller Trance, directed by Danny Boyle who shot to fame with his 1996 adaptation of Trainspotting) unsurprisingly dominates as Bruce; our homophobic, misogynist and racist protagonist whilst Eddie Marsan provides sympathetic support as his geeky friend. Jim Broadbent is the only cast member to match, and even surpass, the energy of McAvoy in the role as the Australian-accented Dr. Rossi; a figment of Bruce's own abused psyche. 

As intriguing a film that Filth is, it's largely uneven, lumbering between trying to look like a film by Stanley Kubrick (some of the designs seem particularly akin to A Clockwork Orange (1971)) and grainy scenes of rough-hewn Super-8 style grit. Obviously intending to strike a contrast between this film of two personas, but generally just coming off as unnecessarily inconsistent. Likewise, the drama pays off, especially towards the end but the lack of a clear vision hurts an otherwise perfectly enjoyable film.

Next time, Mark Ruffalo plays a recovering sex addict who finds companionship and temptation with Gwyneth Paltrow in Thanks For Sharing.

How I Live Now (2013, Dir. Kevin MacDonald, UK) (Cert: 15/TBC) ***

How I Live Now (2013, Dir. Kevin MacDonald, UK) (Cert: 15/TBC) ***

Starring: Saoirse Ronan, George MacKay, Harley Bird

Daisy (Ronan) arrives in England to spend time with her cousins amidst rising problems with terror attacks. Sour about the countryside and her family, Daisy also nurses a crush on her cousin, Edmond (MacKay)  but has to find away to band her family together when they're evacuated and separated after a nuclear attack.

Meg Rosoff's 2004 novel is given the film treatment here and whilst there are certainly enjoyable aspects to the film, How I Live Now also has some major stumbling points. A British film about the effects of a nuclear weapons attack, How I Live Now lends certain comparisons to When The Wind Blows (1986) and Threads (1984), in particular the latter. However while those two antecedents are remarkably grim and all the better for it (personally, I've seen few films as brilliantly bleak and terrifying as Threads), How I Live Now takes a slightly softer approach. There are moments that are still grim and gripping, but not quite as sobering or depressing; which is a merit or a flaw depending on the individual viewer. Saoirse Ronan provides an expectantly watchable lead, even if she does grapple a bit with the American accent overcoming her natural Irish brogue, particularly noticeable with words like "here".

Also, with an adolescent lead the film's values seem rather adolescent in themselves. The romantic subplot is brought together with all the melodrama of a first major relationship, with very little buildup making it seem (perhaps intentionally) irrational but also irritating at times, whilst the occasional dream sequences with a shirtless George MacKay make it clear we're definitely within the headspace of a teenage girl. However, her flashes of neuroses, her mind babbling a myriad of near-indecipherable mantras is an interesting touch, even if it never fully explains itself. The supporting cast are likeable, if a little under-explored and the film has a great grip on the tension and pacing. How I Live Now seems a little unsure of itself ad what it wants to say and do, but there's enough there to show that if it had picked a direction it would've worked well. As it is, it's unmemorable but, on occasion, impressive. 

Next time, James McAvoy plays a Scottish cop living his own world of drugs and debauchery in Filth.

Sunshine On Leith (2013, Dir. Dexter Fletcher, UK) (Cert: PG/TBC) ***

Starring: George MacKay, Kevin Guthrie, Jane Horrocks

Having served a tour of duty in the army, friends Davy (MacKay) and Ally (Guthrie) return home to Edinburgh where Ally plans to propose to Davy's sister, Liz (Freya Mavor) and Davy romances Liz's English friend, Yvonne (Antonia Thomas). Meanwhile, Davy's father, Rab (Peter Mullan) gets in touch with his daughter  (Emma-Hartley Miller) from an affair and puts his marriage with wife, Jean (Horrocks) in jeopardy.

Given the massive success of Mama Mia! (2007), the film adaptation if a musical based on the work of ABBA, it seemed inevitable that other adaptations of "jukebox musicals" would come along. Frankly, however, few would've expected a film based around the songs of the very Scottish musical duo, The Proclaimers. It's this oddity in both premise and execution however, that makes it entertaining. The film definitely owes a debt to Mama Mia! but has a little bit of a tighter focus on drama, with death being a surprisingly recurring theme, and the many Proclaimers songs ((I'm Gonna Be) 500 Miles, Letter From America, Let's Get Married etc.) are given more of a show-tune feel, pushing out the quirky folk-inflected nature of the original material. However, counter-acting this most of the cast deliver the songs in noticeable Scottish accents and, like Mama Mia!, there's a sense of a pub singalong rather than a West End production (save for Antonia Thomas).

The narrative allows the strong lyrical skills if The Proclaimers to shine through, although the plot is messy, unclear and contrived even by the standards of a musical, it often feels like the plot is just a loose means to tie the different musical numbers together, with some numbers being almost tangential in nature. Actor turned director Dexter Fletcher (who made his screen debut in 1976 in the minor role of Baby Face in another eccentric British musical, Bugsy Malone) pulls in some interesting stylistic twists (crowd scenes and dance routines that seem like a large number of he extras were just members of the general public joining in) but does't quite take the film beyond a generic and slightly bland cuddliness. For all that it's completely inoffensive and safe, and is about as Scottish as a deep-fried Loch Ness Monster eating haggis whilst wearing tartan to the sound of bagpipes, when it's over and done with, Sunshine On Leith is enjoyable in its self-aware goofiness much like the music it represents.

Next time, Saosire Ronan stars as a girl fighting for survival following a nuclear attack in How I Live Now.

Mister John (2013, Dirs. Joe Lawlor, Christine Molloy, Ireland/UK/Singapore) (Cert: 15/TBC) ***

Starring: Aidan Gillen, Zoe Tay, Michael Thomas.

John Devine (Andrew Bennett/Michael Walsh), an Irishman who owns a bar in Singapore, is found dead having drowned in a lake. His brother, Gerry (Gillen) flys out to identify the body, attend the funeral and spend time with Kim (Tay) his Singaporean sister-in-law and niece, Isadora (Ashleigh Judith White). Gerry's marriage back home is in trouble and as he bonds with Kim, helping her to deal with recalling a debt, Gerry begins to wonder if his life should be in Singapore.

Straddling the line between drama and arthouse, Mister John is a fairly unique film in its concept and ideas (given that the film hybridises the cultures of Ireland and Singapore) but also has its moments of predictability and mildly tedious pretension. Directors Joe Lawlor and Christine Molloy bring a strong level of competence to the film with a great eye for the surroundings and their own distinct flourishes, particularly a rather novel form of camera panning which is showcased on a couple of occasions. Aidan Gillen gives an understated performance that suits the whispy and light tone and the film also manages to pull of some surprising moments of comedy amidst a rather serious film. The film-makers' fascination with the more bizarre elements of the film lead sometimes to the film's undoing; there are shots that drag on listlessly and there's a really over-long dream sequence and both bring the film down. It's also not a film that's going to last in the memory despite its originality, but it's worth seeking out if you're looking for something original.

Girl Most Likely (2012, Dirs. Shari Springer Berman, Robert Pulcini, USA) (Cert: 12a/PG-13) **

Starring: Kristen Wiig, Darren Criss, Annette Benning

 Having lost a job and her boyfriend (Brian Petsos), struggling playwright, Imogene (Wiig) pretends to attempt suicide in order to win her boyfriend back. Only for it to backfire and Imogene is sent to the hospital before being discharged into the custody of her free-spirited mother (Benning) in Atlantic City During her stay she discovers that her historian father (Bob Balaban) isn't dead as she had been told and sets off to New York Coty with her brother Ralph (Christopher Fitzgerald) and her mother's lodger Lee (Criss) to find him.

Girl Most Likely is a film you really want to like. It's got a decent cast, is put together with some sweetness and seems to have something going for it, only for the film to stumble on its many problems. Fundamentally, the film lacks momentum. The opening to the film is within an environment that is very difficult to relate to or understand as an audience and many of the jokes seem to have been tailored entirely from an American perspective that comes at the expense of being relatable universally (ironically the film opens with our main character as a child criticising Wizard Of Oz of being "provincial").

Kristen Wiig is a good actress but she really shines with sparky and energetic roles such as her performance in Despicable Me 2, earlier this year. Here, she plays the lead character, Imogen. A cynical and ambitious know it all who has a heart but her character arc isn't quite enough to redeem her actions at the start of the film; faking/attempting suicide (it's never really clear which she was trying to accomplish) just to win back a boyfriend is not the sort of thing that protagonists in mainstream comedies should do. Christopher Fitzgerald plays Wiig's sweet-natured and possibly autistic (going by how he associates more with animals than people and his narrow but highly knowledgeable level of interests) brother and his sub-plot is perhaps more deserving of a story.

The film picks up in its second half, when the previously elusive energy kicks in, and  there's a clear intention for a whip-smart and likeable comedy in there, despite few moments that will illicit anything more than a titter. It shows promise, but just delivers it too late to sustain much interest.

Next time, Aidan Gillen plays an Englishman who goes to Singapore following the death of his brother, which leads him to reconsider his own future in Mister John.

Blue Jasmine (2013, Dir. Woody Allen, USA) (Cert: 12a/PG-13) ****

Starring: Cate Blanchett, Sally Hawkins, Alec Baldwin

Once a woman of wealth and status, Jeanette "Jasmine" Francis (Blanchett) has lost everything she had following the arrest of white-collar criminal husband, Hal (Baldwin). As a result, Jasmine is forced to move from New York City to San Francisco and live with her working-class sister, Ginger (Hawkins). Having gone through a complete emotional and mental breakdown, Jasmine frequently drinks and binges on prescribed drugs as the class  and familial conflict that she partly stirs up, plays out in front of her.

Having already opened to good financial standing and rave reviews in the US, Blue Jasmine is a strong addition to the filmography of the highly prolific Woody Allen. A comic-drama, Allen's style evident here and the humour is played very dry and subtle, almost completely destroying the categorisation of this film as a comedy. The drama is much more to the forefront and Cate Blanchett makes for a remarkable lead as a woman whose life has been turned upside down and then towards substance abuse to the point where you can almost smell the alcohol emanating from her whenever she's on screen the rest of the rather starry cast (this is Woody Allen, after all) give great performances as well whilst the film explores class-relations and the positive and negatives aspects of both extremes of wealth and the cultures that go with them. Blue Jasmine isn't a feel-good comedy or a laugh riot that some might expect from Allen, but it's a rewarding experience given the string acting and performances.

Next time, Kristen Wiig plays a frustrated playwright forced to take custody of her mother in Girl Most Likely.

The Wicker Man (The Final Cut) (1973/2013, Dir. Robin Hardy, UK) (Cert: 15/R) *****

Starring: Edward Woodward, Sir Christopher Lee, Britt Ekland

The disappearance of a young girl, Rowan Morrison (Geraldine Cowper), brings policeman Neil Howie (Woodward) to Summerisle, an island off of the Scottish coast. Howie is perplexed that the island's small population seems to have no idea who Rowan even is, and as a devout and conservative Christian is also appalled by their sexualised and heretical society, but is there a more sinister reason for Rowan's disappearance? 

Now celebrating its fortieth birthday, The Wicked Man has been re-released in a re-edited "Final Cut". Now acclaimed as being the greatest British horror film ever made, The Wicker Man was pushed out by an ailing British Lion in 1973 as something of an emabarassment, sharing a double-bill with Don't Look Now (another strong contender for best British horror as well) and slowly over the years, the film has gained in stature and footage, long believed lost, has been redeiscovered. This Final Cut is not all the footage known to exist, and some is trimmed from a previous re-edit in 2006 but there's not too much that has significantly changed, save for the film's opening scene (and again there's much of seen in other versions that isn't present here).

A strange beast, The Wicker Man is often categorised as a horror film and whilst this isn't exactly untrue, the film is really more of a mystery with horror elements as well as occasional dashes of comedy and folk music sequences. Edward Woodward gives a powerhouse performance as Howie, boasting a very convincing Scottish accent and playing the right amounts of dignity and incredulity. Christopher Lee plays the rather laid-back and affable Lord Summerisle with his usual refinement whilst Britt Ekland (who would appear opposite Christopher Lee again a year later in The Man With The Golden Gun (1974)) plays the sensuous Willow, daughter of the foppish landlord (played by Lindsay Kemp). Anthony Schaffer's screenplay provides an entertaining and twist-filled mystery that culminates in a notorious finale. If you have never before seem The Wicker Man, I strongly recommend, horror fan or not, you find a screening.

Next time, Cate Blanchett stars as a formerly wealthy woman struggling to cope with the working working-class surroundings of her sister played by Sally Hawkins in Woody Allen's latest film, Blue Jasmine.

Runner Runner (2013, Dir. Brad Furman, USA)(Cert: 15/R) ***

Starring: Justin Timberlake, Ben Affleck, Gemma Arterton

Richie Furst (Timberlake) is a gifted student on the verge of being kicked out of Princeton because of his gambling-related activities, getting sign-ups for a gambling website. When Richie gambles and loses all of his tuition money on the site, he discovers that a code unfairly made his game almost impossible to win. Richie departs for Costa Rica to confront Ivan Block (Affleck) who runs the site and who quickly takes on Richie as a protégée. However, Richie is unprepared for the violence and crime that this work entails.

A gambling-related thriller, Runner Runner scores the jackpot and busts in pretty much equal measure. It's hard not to look at this film and see how much Brad Furman uses the films of Martin Scorsese as an influence, in both the plot and the first-person narrative and with the obvious comparison being with Casino (1995) but the film also uses elements from more fast-paced action films, giving an intriguing flavour, but also tripping the film up at times, such as a chase sequence with what I can only describe as an extreme form of shaky-cam, making it seem like you're watching the film whilst fastened to a giant paint-mixer. The character of Richie is also fairly flawed, not through Justin Timberlake's performance (which is solid but unremarkable) but rather through the fact that he's portrayed as being very smart and yet from the off, continues to make dumb decisions.

As the antagonist, Ben Affleck gives a laid-back performance, schmoozing and charming his way through violent criminality and corruption. This serves him well for the most part and he makes for an entertaining presence, but he doesn't quite give enough weight to his more intense moments. Anthony Mackie and Gemma Arterton fill out the main cast but in roles that remain a little murky and not fully fleshed-out. Surprisingly for a film that has Scorsese-esque pretensions, Runner Runner is also a fairly brisk and short film which helps stops the film from over-indulging itself. All in all, Runner Runner is no masterpiece but its worth a recommendation for those who like sleek and stylish thrillers.

Metro Manila (2013, Dir. Sean Ellis, UK/Philippines) (Cert: 15/TBC) ***

Starring: Jake Macpagal, Althea Vega, John Arcilla

Former soldier and silk factory worker Oscar Rodriguez (Macpagal) decides to leave his farm in the remote Benguet Province in The Philippines with his family, looking for a better life in Manila. Eventually, Oscar gets a job driving an armoured vehicle with his more experienced colleague and mentor, Ong (Arcilla), whilst Oscar's wife, Mai (Vega) has to work as a stripper. Times are hard and eventually Oscar is forced to work outside the law.

An intriguing crime drama set against the cityscape of Manila and Quezon City, Metro Manila has also been put forward for the British entry into the Best Foreign Language Film category at the Oscars (whilst the film is set in the Philippines most of the crew and production companies involved are from the UK) and whilst it would have to face some fairly lacklustre competition to get the award, Metro Manila is still a well-handled film. The early scenes of the Rodriguez family reaching Manila has a great "stranger in a strange land" quality as vehicles, pedestrians and vendors whizz by in a dizzying buzz of noise. Whilst this immersion into a foreign culture cold be equally daunting for a non-Filipino audience the script from director Sean Ellis and his collaborator Frank E. Flowers provides a window into this world and is able to make the story understandable to an audience unfamiliar with this world (not just in international terms, but the world Oscar works in has a distinctive culture and approach all its own). 

For all that the film sets itself against a backdrop of the gritty world of the Metro Manila region from the crime-riddled inner-cities to the impoverished slums, Ellis's use of stylisation gives off some rather mixed results. The opening scenes in the hills of Benguet Province are truly wondrous, but the ambient score that is used at various points of the film, can get a little tiresome and heavy-handed. Meanwhile, there are strong performances, especially from John Arcilla as Oscar's rather shady mentor-figure, Ong and the film does enough to maintain attention, even if it never quite hits the emotional notes to their fullest potential.

Next time, Justin Timberlake ventures to Costa Rica in hopes of getting back his money from gambling mogul Ben Affleck, only to end up working for Affleck in a world of danger and violence in Runner, Runner.

The Call (2013, Dir. Brad Anderson, USA) (Cert:15/R) ***

Starring: Halle Berry, Abigail Breslin, Michael Eklund

Jordan Turner (Berry) was highly skilled in her line of work, handling 911 emergency calls in a large control centre in Los Angeles until one day when receiving a call from a girl (Evie Thompson) who was then abducted and later found dead. Six months later, Jordan has stopped working calls because of trauma and is instead teaching new recruits. When a call comes in from Casey (Breslin) another girl who's been abducted and Jordan becomes determined to to help her.

The Call works on a fairly simple premise and builds upon that to make for a very tense. If somewhat imperfect, thriller. The environment in which this film takes place is a great locale from which to draw tension, with the film opening with a succession of distressed emergency calls and relies somewhat on strong acting to help pull this off, with Abigail Breslin (who emerged into the limelight as a young girl in Little Miss Sunshine (2006)) rising to the occasion. Halle Berry also works well, although her character's cool and collected approach kicks in too quickly when the main plot begins, pushing aside the more understandable nerves that could've built the suspense. There are some intriguing twists and turns, particularly involving the film's antagonist, played by Michael Eklund but towards the end, the film falls unnervingly too close towards a torture-porn horror movie (i.e: Saw (2005) or Hostel (2005))  but you'll almost certainly never hear Karma Chameleon by Culture Club the same way again. The film also has a rather disappointing conclusion that disappoints given the character development thus far. Yet for all its faults, The Call is delivered with enough skill to get the blood pulsing a bit faster.

Next time, a family moves from a rural part of the Philippines to Manila and to a life of crime in Metro Manila. 

SNEAK PREVIEW: Prisoners (2013, Dir. Denis Villeneauve, USA) (Cert: 15/R) ***

Starring: Hugh Jackman, Jake Gyllenhaal, Paul Dano

It's Thanksgiving and Keener Dover (Jackman) is celebrating with friends when his daughter, Anna (Erin Gerasimovich) and her friend Joy (Kyla Drew Simmons) play outside, near a trailer. A short time later and the girls can't be found and are reported missing. Keener suspects Alex Jones (Dano), a local adult with severe learning difficulties and becomes increasingly driven to prove Alex guilty.

Playing heavily towards arousing fears and paranoia, Prisoners is a film that's perhaps too tough for some viewers but plays with its plot in an interesting way. However, Prisoners seems to have probably worked best as a taut ninety-minute whodunnit as opposed to the lumbering and convoluted result of having the film be an hour too long. The strength of the performances is somewhat mixed, with Jake Gyllenhaal and Paul Dano doing perhaps the best work even if Dano's character of the mentally feeble Alex is under-explored for all the screen-time he's given. Hugh Jackman conversely has an interesting role as a man whose sense of devotion pushes him to some dark ends, but often gives too intense a performance, screaming his way through a good share of his dialogue. Technically speaking, the film is well made with a pervasive sense of tension and some strong visuals (especially an extended pan across a river as police search for traces of abduction victims) but ultimately, Prisoners is a good film, even if it does over-complicate itself.

Prisoners will open in the UK on the 27th of September and is already playing in the US.

Next time, Halle Berry's job taking calls for the emergency services has her reliving a past trauma when Abigail Breslin calls for help in The Call.