Only Lovers Left Alive (2013, Dir. Jim Jarmusch, UK/Germany/France/Cyprus/USA) (Cert: 15/R) ***

Starring: Tom Hiddleston, Tilda Swinton, Mia Wasikowska

Adam (Hiddleston) is a reclusive musician living in Detroit. Eve (Swinton) has spent the last several years living in Tangiers. Both of them are centuries-old vampires and, though they live far apart now, they are also married. With Adam being depressed to the point of contemplating suicide, a concerned Eve travels out to Detroit to see him. However, both are troubled with dreams about Eve's free-spirited sister, Eva (Wasikowska) who is about to make her presence known and unwelcome.

Long famed for being one of American cinema's more unique voices, Jim Jarmusch this time gives us a tale of vampiric romance that's playing to the multiplexes and to the arthouses. Somewhat fitting in that whilst the film still slips somewhat comfortably into convention it's somewhat atypical of the mainstream. As our biblically named leads, Tom Hiddleston and Tilda Swinton are both well cast, with their very British sense of romanticised melancholia and paper complexions and whilst they both make for compelling presences on screen, their downbeat philosophising does get a little tiresome. This in turn is lifted by a great performance from the similarly pale Mia Wasikowska who flits and flirts who time away in the film providing some nice energy. 

Backing them up are a seemingly dim friend of Hiddlestone's play by a near-unrecognisable Anton Yelchin and perhaps the film's most interesting character, an undead Christopher Marlowe (yes, that Marlowe and yes, this film does back up those Shakespeare authorship rumours) played somewhat mystically by John Hurt. Jeffrey Wright turns up as a doctor and middle-man for  satiating Hiddlestone's blood cravings but such a high-calibre actor as Wright is not really put to much use.

Atmosphere is clearly the key thing for this movie. The soundtrack is a droning mixture of arabic music and rock in an monotonous but engaging fashion, but the romantic navel-gazing gets a bit too much, even if the film is surprisingly funny in places, but on a visual level. film's constant night setting stains the eyes after a while.

 With its intriguing appropriation of classic horror archtypes and putting a twist on them, there are comparisons to some of Neil Jordan's work (especially last year's vampire flick, Byzantium) and the backdrop for our bloodsucking protagonists is a fascinating one (both on a personal level and the mythos that the film sets up). Only Lovers Left Alive is intriguing, even at times fascinating, but a little ponderous and bordering on pretention with some of the angles from which the story is tackled.

Next time, a popular lakeside crusing spot for gay men becomes the scene of a murder as danger and attraction mix together in Stranger By The Lake.

(A New York) Winter's Tale (2014, Dir. Akiva Goldsman, USA) (12a/PG-13) *

Starring: Colin Farrell, Jessica Brown Findlay, Russell Crowe

A thief from the streets of Brooklyn in the early twentieth-century, Peter Lake (Farrell) is in the midst of stealing from an upscale house when he crosses paths with Beverley Penn (Findlay) and it's love at first sight. But Beverley is dying of consumption, and Peter is on the run from his dangerous boss, Pearley Soames (Crowe). Nearly a hundred years later, an unaged but amnesiac Peter pieces together parts of his past life.

From the writer of the Oscar-winning A Beautiful Mind (2001) (and bringing along its stars Jennifer Connelly and Russell Crowe both in line for the upcoming film Noah as well), A New York Winter's Tale is an adaptation of an 800 page romantic fantasy novel and in translation, it gets dealt a pretty severe battering.

The film's approach to romance is one of extreme melodrama, with everything blown up to grand gestures even when Farrell and Findlay don't really have much chemistry on screen. As far as the composite parts go, both do fair jobs but Farrell's Irish accent is out of place with the character even if he did grow up under the wing of Russell Crowe, here playing up being more Irish than if he were jigging through a field of shamrocks and being ridden by Guinness-guzzling leprechauns. Meanwhile, Findlay is supposedly dying of consumption (itself an incredible cliche) whilst actually looking very healthy and even thrashing out Bach periodically on the piano. Of the cast the best performance goes to Will Smith in an uncharacteristically dark role, but he doesn't look like he's very enthusiastic with the part.

The fantasy element may show signs of promise, but it's quickly blown out of the water. Given that the plot was probably ruthlessly condensed for the screen, plot points that may have worked with more detail just seem inexplicable and bizarre (Farrell rides a flying horse, that's mentioned to also be a dog...nothing comes of that last bit of information). The plot seems only partially thought through and was probably going to be set in a slightly different period given the oddities of ageing (one character in the 2014-set part of the plot is supposed to be at least 105 and yet she's an editor of a major paper and seems remarkably active mentally and physically, befitting a woman decades younger) and throughout we're also told little gems of treacle like how the stars are related to the wings of angels.

I would genuinely like to believe that a novel as clearly ambitious at the source material could one day be adapted again into something grander, and perhaps another one or two rewrites would've corrected this but here something went wrong and disappeared into a hole of too little sense and too much sentiment,

Next time, Tom Hiddleston and Tilda Swinton are two vampiric lovers who reunite from disparate climes in Jim Jarmusch's latest film, Only Lovers Left Alive.

Cuban Fury (2014, Dir. James Griffiths, UK) (Cert: 15/R) ***

Starring: Nick Frost, Rashida Jones, Chris O'Dowd

As a child, Bruce Garrett (Frost, Ben Radcliffe) was an extremely talented dancer, specialising in Salsa. When he's assaulted by bullies, Bruce turns his back on Salsa and twenty-five years later is a draughtsman for a company making lathes. When a beautiful new employee named Julia (Jones) catches his eye (and of Bruce's uncouth colleague Drew (O'Dowd)) Bruce discovers that she dances Salsa and takes out his dancing shoes once again.

With Simon Pegg becoming a major international star off of the back of major Hollywood projects (most notably Scotty in the rebooted Star Trek franchise) you can be forgiven for thinking that his partner-in-comedy Nick Frost has been left behind a little. Here, Frost takes the lead in Cuban Fury and provides a light and enjoyable rom-com with a twist (literally) even if it doesn't quite have the right kick.

Nick Frost may not be a conventional leading man but his amiable everyman presence is a big reason as to why this film works. He plays his part well and is always entertaining playing the slightly oafish nice guy. Chris O'Dowd (who has played similar roles to that as well in the past) also does well as a thoroughly unlikeable rival to Frost, a role that is fairly out of step for O'Dowd. Rashida Jones does well, but feels slightly out of place and lacks the distinct characteristics of her co-stars whilst Olivia Colman, playing Frost's sister and former dance partner, also could've done with more screentime.

The film is undemanding. Yes, it has the dance element, but that's not fully used to its greatest potential (save for as a means to give us Kayvan Novak's turn as an extremely camp dancer) and the film lacks anything approaching real drama despite being, for all intents and purposes, a romantic comedy. It's also predictable as hell with the same familiar beats being hit at every turn. Still, audiences for this will probably just be looking for something funny, a little sweet and not very taxing. For those things, Cuban Fury is, all things considered, worthwhile.

Next time, Colin Farrell and Jessica Brown Findlay play star-crossed lovers, joined together through the mysteries of the universe in A New York Winter's Tale.

The Monuments Men (2014, Dir. George Clooney, USA/Germany) (Cert: 12a/PG-13) ***

Starring: George Clooney, Matt Damon, Cate Blanchett

It's World War II and the Nazis have just taken Paris. A centre of art and culture, the French capital is instrumental in the a plan being put forth by the Third Reich. Upon their victory, Berlin is to have a massive museum, filled with fine art, whilst other art (namely by those openly opposed to Nazism and by Jews) is to be destroyed. Art expert Frank Stokes (Clooney) is commissioned by President Roosevelt (Michael Dalton) to assemble a crack team of art experts and servicemen to go to Europe and beat the Nazis to the endangered art.

Directed, partially written by, produced by and starring George Clooney, it could be easy to dismiss The Monuments Men as something of a vanity project. The film isn't an all-out Clooney exercise in self-congratulation but thankfully more of an ensemble piece that owes more of a debt to classic World War II movies of a bygone age where amidst the action and drama of combat there are colourful characters and, to be honest, a sense of fun.

Of course the film also calls to mind the Ocean's series of films that George Clooney starred in alongside Matt Damon, his co-star here as well and this element is a little crowbarred into proceedings within the ensemble cast. Given that the group assembled for the mission are significantly made up of older actors this also means emphasis is more on character than all-out action sequences. They may not be the kinds to go charging into battle, but there are some entertaining and humorous performances by the comedically-experienced likes of Bob Balaban, John Goodman and, of course, Bill Murray.

However, whilst the film has charm it also has a tendency to be annoyingly simplistic and incorporating some of the worst expectations you could expect from a film of this nature. It may not be a right-wing martial bloodbath, it still throws about a sense of being very America-centric. Of the ensemble of heroes, four are non-Americans (a very English Hugh Bonneville, English Dimitri Leonidis acting a little German, a very French Jean Duijardin and Australian Cate Blanchett...acting very French) despite the real Monuments Men being a much more collaborative effort from a larger group. This side-lining is also only made worse by later proceedings in the plot. Every change of scenery is also hammered in clumsily by an insistence to mention the city and country ("Paris, France" being a particularly egregious example).

The film also needed some tighter editing as much of the film (like an interrogation scene that is well-written but completely unnecessary to the plot) wanders on for too long but it does boast an impressive and likeable score by Alexandre Desplat, who has clearly been indulging gleefully in listening to the back-catalogue of Maurice Jarre and John Williams.

Overall, going into Monument's Men you might find yourself a little disappointed by the film's several and blatant flaws, but when looked upon as a tribute to the kind of films that would've had once been a home for Frank Sinatra or John Wayne, it can be enjoyed for its sense of old-fashioned fun which is, to be honest, a little lacking these days.

Next time, underdog nice guy Nick Frost reignites his passion for Salsa dancing to win the heart if Rashida Jones in Cuban Fury.

Her (2013, Dir. Spike Jonze, USA) (Cert:15/R) ****

Starring: Joaquin Phoenix, Scarlett Johannson, Amy Adams

Theodore Twombley (Phoenix) is feeling lonely following a messy recent divorce from his wife (Rooney Mara) confiding largely in technology to fill the void, Theodore learns about OS; the world's first fully intelligent operating system. Upon starting it up, he begins to talk to the conversational operating system known as Samantha (Johannson) and "she" and Theodore begin to form an unorthodox romantic relationship.

Having filled the last couple of years with short films, Spike Jonze has returned to directing features with Her; a deliberately rather oddball sci-fi romance that despite its sense of detachment and sterility, does pack some power.

Whilst science-fiction films tend to be noted more for their effects work, it is the drama and the human element that is more evident here even if it strange considering only half of the central romantic relationship is human. It's a task that both leads Joaquin Phoenix and Scarlett Johannson live up to admirably, especially Johannson in an entirely vocal performance (that wasn't even hers originally as the role was cast for Samantha Morton, hence the character named Samantha, with Johannson being casted during post-production). Amy Adams also makes for a likeable side-character as Phoenix's best friend. 

Although the film is based around a contentious topic, it's largely non-judgmental and presents a relationship that is strange and will (intentionally) seem to some rather creepy, it can also be seen as a happy relationship, even though the relationship seems lacking in conflict (this could be reasoned with Johannson playing a tool designed for company she's supposedly submissive, but this does contradict some of the film's unseen depictions of similar relationships). The film also has a realistic and consistent depiction of the near-future but the looks do sometimes fall towards a slightly out-of-place hipsterdom (mostly River Phoenix wearing small spectacles, wearing a neat moustache and occasionally plucking a ukelele.). Regardless, Her is an intriguing and rewarding piece even if it is an acquired taste, Her is a film of rare intelligence and insight into human relationships.

Next time, George Clooney directs and leads an all-star cast, rescuing art from the hands of the Third Reich in The Monuments Men.

The Invisible Woman (2013, Dir. Ralph Fiennes, UK) (Cert: 12a/R) ***

The Invisible Woman (2013, Dir. Ralph Fiennes, UK) (Cert: 12a/R) ***

Starring: Felicity Jones, Ralph Fiennes, Joanna Scanlan

A wildly popular writer, Charles Dickens (Fiennes) is staging a production that he has written to be performed at Manchester. For the production, a family of actresses all take the opportunity to perform but it is the sister with the least talent, Nelly (Jones) who catches Dickens' eye and with whom he begins an adulterous and tempestuous affair.

Having made his directorial debut in 2011 with an adaptation of Shakespeare's Coriolanus, Ralph Fiennes  now turns his hand to another one of Britain's legendary writers, Charles Dickens, in a real-life drama with Fiennes also taking on the role of the novelist. The results are mixed but in a way that might come as unexpected from someone with Fiennes' background.

The film's greatest strength is its cinematography. The film is often bathed in this intimate yet smouldering light that provides a characterful glow to much of the scenery and provides a rich atmosphere. Aside from this, the film affords a look into Dickens' personal life that is not seen very often and whilst the gravitas of his actions are put across, the film never descends into character assassination, helping you stay with him as the story progresses.

Whilst The Invisible Woman shows that Fiennes has potential as a a director, this brief and rather forgettable film is better viewed as a technical exercise, but there's room to build on.

Next time, Joaquin Phoenix is Theodore Twombley. A man who falls in love with an operating system (with he voice of Scarlett Johanson) in Her.

Robocop (2014, Dir. José Padilha, USA) (Cert: 12a/PG-13) ***

Starring: Joel Kinnaman, Michael Keaton, Gary Oldman

All around the world, the streets are being policed by armed robots produced by Megacorp. However, despite their success overseas, the American public is reluctant to allow the Detroit-based company to produce robots policing American cities. Raymond Sellars (Keaton) hits upon the idea of making such a creation more marketable to Americans (and exploit a legal loophole) by instead placing a man in a robotic suit. At the same time, cop Alex Murphy (Kinnaman) is severely injured in an explosion and without his consent becomes the new force in law enforcement: the Robocop.

Released in 1987, the original Robocop was one of the best science-fiction films of its era, combining comic book violence, an introspective subplot and a subtle, but unmistakable sheen of left-wing satire that softly derided the authoritarian and ultra-capitalist setting, whilst not alienating audiences on either side of the political spectrum. With the arrival of this reboot/remake, there have been expectations for it to crash and burn. But, whilst this new Robocop is doubtlessly inferior to the original film, it is a fairly decent effort when judged on its own merits.

A lot of the elements that made the original Robocop so special are still present, albeit to lesser degrees. The satirical edge really only sticks in with Samuel L. Jackson's turn as a jingoistic TV political pundit which makes for probably the best performance of the film. The film alsocomes with the same sleek "not-too-distant future" vibe that gives the film some seeming relevance, although it's probably not exploited to the greatest extent.

As Alex Murphy/Robocop, Kinnarman puts in a solid performance, in a role that does require more dimension than most action heroes. However, he seems to lack quite the amount of skill that Peter Weller brought to the role. Michael Keaton brings just the right amount of playfulness as the film's villain, with Keaton always being an enjoyable presence as a baddy. Meanwhile, Gary Oldman does a turn as a creator and mentor for Robocop; not an original kind of role, but one which Oldman seems to slip into like a well-tailored suit.

The music also deserves a mention, with a nicely appropriate reprise of the original Robocop theme, the film also features some gleefully apropos pieces of music to bring again the lightness of touch over what could easily have been a far grimmer story, which is also at times over-complicated.

To summarise, Robocop is no masterpiece and inevitably it doesn't stand up very strong alongside the 1987 variation with its convoluted plotting and dropping some promising themes with less satisfying ones. However, this film has picked up some strengths as well and occasionally shines with them.

Next time, Ralph Fiennes directs his own portrayal of Charles Dickens, involved in an adulterous affair with Felicity Jones in The Invisible Woman.

Bette Bourne: It Goes With The Shoes (2013, Dirs. Jeremy Jeffs, Mark Ravenhill, UK) (Cert: N/A) ***

Starring: Bette Bourne, Mark Ravenhill, Stuart Feather

Starting out as an actor and a face on British stage and screen in the 60's, Bette Bourne became involved in the burgeoning Gay Liberation movement before becoming a veteran of the drag performance circuit. This documentary follows Bette's story, personal life and political struggles.

Chances are, Bette Bourne: It Goes With The Shoes will fly under the radar of the public consciousness. A bare-bones documentary about a very countercultural figure, It Goes With The Shoes definitely gives away certain limitations but also has moments of genuine power. Like some other documentaries made for the cinema, It Goes With The Shoes doesn't make the effort to be cinematic. Whilst it's near-90-minute run-time may seem more akin to a film, the aesthetic and conventions of the film seem more televisual than cinematic.

With Bette Bourne being the main focus of the film, Bette is an intriguing figure. Brash and outspoken, it's clear that Bette has lived an interesting life and Bette's skill as a performer comes to the fore, performing scenes from his life which do come with some moments of genuine emotional impact, however the film really seems at its most interesting when it looks at the wider scope of Bette's time with Gay Liberation and drag performance which is worthy of a film all its own however Bette's a fascinating enough premise for the film to survive a little on the focus of a singular figure.

Bette Bourne: It Goes With The Shoes is interesting and entertaining viewing but it lacks a sense of craft to help seal the deal as well as it probably benefitting from a focus on a specific aspect rather than just skipping around several points it wants to make; still, those who are interested in what this film addresses might find something to enjoy.

Next time, a new spin on an old classic as Joel Kinnaman dons the metallic armour and hits the streets of Detroit in Robocop.

Mr. Peabody & Sherman (2014, Dir. Rob Minkoff, USA) (Cert: U/PG) ***

Starring: Ty Burrell, Max Charles, Ariel Winter

Mr. Peabody (Burrell) is a super-intelligent dog who also happens to be a master inventor and adopted father to a human boy, Sherman (Charles). When Sherman bites Penny (Winter) a girl at his new school, Mr. peabody invites Penny and her parents (Steven Colbert, Leslie Mann) to his house to keep the peace. Sherman shows Penny the WABAC, Mr. peabody's time machine, starting a wild adventure through history.

Over the years, a film franchise relating to classic animated characters Rocky and Bullwinkle has drifted into cinemas. First, in 1999 came Dudley Do Right about the scatter-brained Mountie. It got slaughtered by critics and was a complete failure at the box office. A year later came Rocky And Bullwinkle. It fared better critically and (technically) did better financially, but still was considered a rather poor film that financially failed. Now is the turn for Mr. Peabody And Sherman from Peabody's Improbable History and whilst it isn't a masterpiece, it's a fairly acceptable animated film with some impressive qualities.

This coming from Dreamworks, one the greatest computer animation studios in the world there's a feeling that whilst the simple and blocky animation style could've been an homage to the simple designs of the original Peabody and Sherman cartoons, it comes off as unimpressive rather than stylised especially since it is still radically different to the original cartoons.

As for the plot, whilst the film does eventually twist around the notion of a paradox in the space time continuum (which would be fine if it weren't for the fact that it's a premise that was used in Back To The Future (1985)) the film does give a nice variety of time periods to witness throughout whilst also providing a wealthy supporting cast of historical figures with acting choices that sometimes seem a given (Patrick Warburton as Agamemnon)  and some that seem unusual (Mel Brooks as Albert Einstein comes off rather more puzzling than you might think). In the leads, Ty Burrell does as surprisingly good job as Mr. Peabody given the rather specific characterisation whilst young Max Charles shows some promise as an actor in the role of Sherman. Ariel Winter rounds out the cast fairly well but it's surprising that more isn't made of her acting opposite Ty Burrell (given the two play father and daughter in the popular sit-com, Modern Family).

The film isn't exactly the height of wit, but it's worthy of a chuckle every now and then. The history presented is often wildly inaccurate but is so obviously bound to the fictional universe that it's not too misleading and whilst it won't provide a good education for children, it may inspire an interest in history. All things considered, Mr. Peabody And Sherman has its flaws, but it has good intentions, a fairly smart script and will probably keep kids entertained.

Next time, a sneak preview into the life of a gay rights activist in Bette Bourne: It Goes With The Shoes.

The Lego Movie (3D) (2014, Dirs. Phil Lord, Christopher Miller, Australia/USA/Denmark) (Cert: U/PG) ****

Starring: Chris Pratt, Elizabeth Banks, Will Ferrell

Emmett (Pratt) is a construction worker in a land made entirely of Lego. Happy about literally everything, Emmett's good-natured but not very forward-thinking and no-one is more surprised when he is discovered to be the fabled Master Builder except for a tough-talking action heroine named Wyldstyle (Banks). With Wyldstyle a mystical figure known as Vitruvius (Freeman) and a few other companions, Emmett must be the hero and save the Lego people from the megalomaniacal Lord (and President) Business (Ferrell).

There's no doubt about the fact that The Lego Movie is at least in part a marketing exercise for Lego. Those plastic toy bricks from Denmark are the be all and end all of this picture but something else can't be denied about The Lego Movie. To put it simply, The Lego Movie is an amazing film that combines stunningly inventive animation and some of the greatest verbal and visual gags that you'll probably see all year.

Given that this is about a range of toys, the film has played up towards the kids market but it's clear that the filmmakers had more than just a slight inclination in appealing to adults. Given that Lego have tied themselves into numerous other franchises, the pop-culture gags come thick, fast and usually brilliantly (the brief take on Star Wars being a personal highlight alongside Will Arnett as a buffoonish Batman) andnthe humour seems on-spot considering that the in the film-makers' backgrounds are Cloudy With A Chance Of Meatballs (2009) and the (admittedly, more adult) TV show Robot Chicken. Meanwhile, the animation (done mostly by computers in lieu of actual Lego) is a sight to behold, from dissipating clouds of smoke to a tumultuous seascape whilst the 3D, to its credit, brings an interesting dimension, once or twice in the film.

The performances are gleefully over-the-top in many places but Chris Pratt provides just the right level of gleeful optimism to make it work over the occasionally rather predictable plot (except for an initially baffling twist in setting towards the end). Mum and dad may get a little more out of the film's wisecracks than the kids will, but The Lego Movie is still a sure-fire crowd-pleaser for any age.

Next time, we take another look at a childhood favourite as Ty Burrell and Max Charles are father and son, dog and boy and going through time in Mr. Peabody And Sherman.

That Awkward Moment (2014, Dir. Tom Gormican, USA) (Cert: 15/R) **

Starring: Zac Efron, Imogen Poots, Miles Teller

Mikey (Michael B. Jordan) has just left his wife (Jessica Lucas) and so his single friends Jason (Efron) and Daniel (Teller) make a pledge to not get into any serious relationships whilst Mikey is unattached. The plan quickly falls apart once Jason develops feelings for the intellectual Ellie (Poots) and Daniel starts seeing his friend Chelsea (Mackenzie Davis) and Mikey has an affair with his ex-wife. Will the three (especially Jason) be able to maintain their relationships and their friendship?

Perhaps there is no better word to describe That Awkward Moment than the second word in its title. The screenplay for That Awkward Moment has sort of been drifting in the ether for several years, having the reputation of a potentially good film that had yet to be realised. Unfortunately, what has made it to the screen seems to be a plot that has no idea of to whom it belongs.

Our three male leads fit the bill as the leads in your typical low-brow "bro" comedy (Miles Teller having starred in the almost perfect example, 21 & Over (2013)) but also live lives in New York penthouse apartments and the film is peppered with references for Boyz N The Hood (1991) and The Story Of O; a strange disparity that whilst not out of the realms of reality makes for a jarring clash.

The adolescent nature of the humour means that it's a rather acquired taste that will leave people frustrated when the humour just doesn't fall completely flat and the dramatic elements clearly try to be more stirring than they are. The film also, controversially, addressees marriage and parenthood as bad things, tacitly portraying them as the end of any kind of fun or youthfulness. The nature of the three central relationships is still fairly balanced and dealt with in an even pace pace, and whilst no-one delivers a stunning performance, the actors seem to be making the most of the rather sketchy and inconsistent material, but the central problem is that of a film lacking in a firm sense of what it is or wants to accomplish.

Next time, we're in the world of Lego, where Chris Pratt discovers that he may not be just a normal faceless construction worker but a Messianic hero in The Lego Movie.

The Square (2013, Dir. Jehani Noujaim, Egypt/USA) (Cert: 15/Not Rated) ***

Starring: Ahmed Hassan, Khalid Abdalla, Magdy Ashour

In 2010, a series of revolutions erupted across the Islamic world aimed at various dictators who ruled over their countries. In Egypt, a major revolution to usurp President Hosni Murbarak is captured through the eyes and experiences of several people active within the revolution with different ideas and views on the future of Egypt.

One of the most interesting elements of documentary cinema is the occasions in which something remarkable is captured almost purely by chance. The Square is not just one of these moments but rather a succession, in the heat of one of the most tumultuous revolutions during the "Arab Spring". The film provides a ground-level view of the revolution and riots which presents not only a unique opportunity but also a raw intensity to sequences which pack an emotional punch.

However, with this immediacy there are other problems. Give. That this is covering an event that is still somewhat underway, the film lacks any satisfying sense of conclusion as if the story is half-done. Some of the sequences such as Ahmed Hassan's opening narration and the recurring sequence of a mural being painted distract from the more lively scenes of conflict. A mixed bag over all, but there Is more good than bad.

Next time, Zak Efron, Michael B. Jordan and Miles Teller play three friends who vow to not enter a relationship before a recently-divorced Jordan. However, things don't go to plan in That Awkward Moment.

Lone Survivor (2013, Dir. Peter Berg, USA) (Cert: 15/R) ***

Starring: Mark Wahlberg, Ben Foster, Taylor Kitsch

In the war on the Taliban, the opportunity has arisen to take out Ahmat Shah (Yousuf Azami) a high-ranking member of the Taliban. An operation goes underway but when four soldiers are discovered by chance, a gruelling firefight leads to a fight for survival.

Based on the true story of Marcus Luttell (and Luttrell's book about the ordeal), Lone Survivor is an uneven film that falters as much as it succeeds. Opening with sweeping grandeur (the single shot of a helicopter flying towards camera is incredible), the film finds it difficult to maintain any tension or momentum. This problem largely resolves itself however when the film goes into grittier territory.

A large part of why the film's action sequences work better than he rest f the film is down to the greater sense of physicality. Our main characters go through the ringer and you feel every bit of their pain aided by the great sound design whilst the cat and mouse element that sets up the main crux of the film adds tension. Whilst the film does have some moments to illicit emotion and also raises some moral questions however, there's a sense that the film never truly lives up to be as good as it can be; and instead largely settles for being not bad but mediocre.

Next time, The Square. An in-depth and personal documentary of the recent political unrest in Egypt.

SNEAK PREVIEW: Dallas Buyers Club (2013, Dir. Jean-Marc Vallée, USA) (Cert: 15/R) ****

Starring: Matthew McConaughey, Jennifer Garner, Jared Leto

Ron Woodroof (McConaughey) is a homophobic electrician and bull-rider from Dallas, Texas. After he mysteriously collapses one night, Roy discovers he has tested HIV Positive, with his condition quickly developing into AIDS. Ron discovers experimental treatments from across national borders to help stall the disease and decides to sell them on to other people. However, the FDA and the medical community, backing a more dangerous drug, make life difficult for Ron and his associates.

Taken from the true story of Ron Woodroof, in execution Dallas Buyers Club seems to take comparable points from a couple of films. It has the LGBT social/historical perspective of Milk (2008) whilst also the notion of a businessman who, through pragmatism, becomes a hero like in Schindler's List (1993). Dallas Buyers Club however, does carve out something of a unique identity and is an engaging watch. 

The centrepiece to the film is its performance which come to the fore rather than the period setting, Matthew McConaughey steps a little outside of his comfort zone (still the ol' southern country boy, but deliberately lacking a little of his usual slickness and looks) but more than holds his own, whilst Jared Leto's performance as Rayon, Roy's cross-dressing business partner is a moving portrayal of transvestism, calling comparisons with Chris Sarandon's brilliant turn in Dog Day Afternoon (1975).

A film very much trapped in its own period, whilst not visually bludgeoning the audience with obvious indicators of the 80's, the film has a slightly tentative grasp of the AIDS crisis, focusing mostly on the search for suitable medication. Whilst there are themes related to the rampant homophobia in the air as well as the hysterical misconceptions of HIV and AIDS at that point in time, it's a story element that could've been looked into further. Also, the film over-uses some motifs, especially a frequent high-pitched sustained tone when Roy begins to suffer the effects of his illness. Still, for all that the film has faults and flaws, Dallas Buyers Club has more going for it than it has against it. Those with an eye for a good drama could do worse than checking this out.

Dallas Buyers Club will go on wide release in the UK on the 7th of February.

Next time, another real-life drama as a mission in he Afghan foothills turns into a deadly game of personal survival. Mark Wahlberg stars in Lone Survivor.

RE-RELEASE: The General (1926, Dirs. Clyde Bruckman, Buster Keaton, USA) (Cert: U/Unrated) ****

Starring: Buster Keaton, Marion Mack, Glen Kavender

Upon the outbreak of the American Civil War, train engineer Johnnie Grey (Keaton) wants to sign up and fight for The Confederacy. Rejected on the grounds that his work as an engineer is too valuable, Johnnie rushes to save the day when his beloved Annabel (Mack) and his train, The General, are taken as part of a Union plot.

Whilst he probably doesn't have the name recognition of his contemporary Charlie Chaplin, Buster Keaton was an extraordinary comic performer a master of timing, physicality and expression. Whilst not a hit upon its release in 1926, The General is now regarded as one of Keaton's best and most famous works.

The thing that initially stands out with this re-release is its pristine visual quality, with little of the residual specks and scratches you may expect from of a film of this age. The remarkable visual aspect allows for some admirable landscape shots and Buster Keaton's expressive abilities as a performer to take centre stage in a series of very amusing set-pieces that showcase a truly daring performer. Made in the days when stunt work was in its infancy, Keaton performed his own physical feats (the most famous probably being him dislodging stray debris from the track just before the train he's sitting on almost runs over them) made all the more remarkable being that everything was played out for real, with little to no safety measures.

To a modern audience, the film may seem at times a little strange. Specifically the notion of cheering on a soldier for The Confederacy; the army that fought for the protection of slavery yet this is hardly addressed (thankfully) and is far less disturbing to modern sensibilities than the likes of the pro-Klan film Birth Of A Nation (1915). Also, at a slim 75 minutes, the film plays more like a succession of incidents rather than as a cohesive story. That being said, it is deserving of its stature as a classic and is a master class in comic performance. 

(Note: The trailer is from before this remastered release)

Grudge match (2013, Dir. Peter Segel, USA) (Cert: 12a/PG-13) ***

Starring: Robert De Niro, Sylvester Stallone, Kim Basinger

Years ago, Billy "The Kid" McDonnen and Henry "Razor" Sharp (Stallone) were two rivals at the peak of professional boxing. Fighting eachother In two legendary bouts, both retired before a final tie-breaking match could take place. Now entering old age, the two get into a fight whilst helping to make a boxing video game. When the video of the tussle goes viral, the two are coaxed to finally settle the score in the ring.

Grudge Match has one obvious conceit. Putting on a match between two of cinema's most famous boxers. In one corner, Rocky Balboa from the Rocky series (1976 - 2006) and in the other, Robert De Niro's portrayal of real-life boxer, Jake "Raging Bull" La Motta from Raging Bull (1980). As such, Grudge Match takes more from Rocky's idealistic underdog sensibilities rather than the far darker and more dramatic Raging Bull (though there are the odd moments where the visuals belie a Raging Bull influence). However, despite the stylistic comparisons. grudge Match is not even the same league as the initial Rocky movie or Raging Bull.

As a drama, Grudge Match is fairly paint-by-numbers and is fairly predictable. This is altered with a couple of second act plot twists that alter the trajectory of our leads (Stallone's twist worst, De Niro's tries but never fully pays off). As comedy the film also falls pretty flat, although the gags in the film's end credits better anything in the main story arc of the film.

The casting boasts some good names. Robert De Niro and supporting player Alan Arkin always deliver enough to justify their stellar status and Stallone is a greater asset as a performer than he's often made out to be, however Kevin Hart's turn as an ambitious promoter falls mostly dead with the exception of a few glimmers that show promise. Ultimately, the film provides a decent pay-off an a surprisingly well-executed (albeit slightly too brief) match, but it's a case of too little too late and whilst Grudge Match isn't a "bad" film, per se, given the lineage that spawned this film, it unsurprisingly doesn't live up to their reputations.

Next time, Buster Keaton must drive his train and bring his beloved across American Civil War borders in a re-release of the 1926 classic, The General.