Reviews

A computer drive containing the information of MI6 Agents planted in terrorist organisations has been stolen and Bond is tasked with recovering it. While on the mission, Bond is severely wounded and presumed dead, until months later when he returns after learning that MI6 itself has become the target of a bomb attack. Bond forces himself to return to active duty only to discover that not only are his skills as an agent have been impaired, but that M's life is in danger.

It is both understandable though strangely perturbing that Skyfall is a standalone entry into the new era of Bond films. While continuity in the 007 history is all over the place, there is the situation that certain plot points, primarily that of the criminal organisation known as Quantum, should have surely been expanded upon. As it stands, there is little in reference to Bond's lover Vesper or Quantum, two important aspects in the shaping of James Bond (Daniel Craig) as a character, and it comes as a missed opportunity. Nevertheless, we are presented with a new villain, Silva (Javier Bardem), who has a a pretty hefty grudge against M (Judi Dench). Silva is definitely the most interesting Bond villain of recent years and is a highlight of the story, but his introduction comes a little later than expected but this is a minor issue. Skyfall's plot is an interesting one: what starts off as a hunt against a formidable villain turns into a retrospective of Bond. However, this latter point never feels fully developed, and can appear at times to be tacked on to further the length of the narrative.The integral point of interest in humanising Bond is his feeling of betrayal by M for her lack of confidence in him. And then it is over. Just like that. The development of Bond feeling jaded against is quelled as quickly as it arises. The strong emphasis on humanising Bond will either be interesting to you or distracting after how subtly this thematic element is convincingly explored in Casino Royale and Quantum of Solace. Nonetheless, it is the film's identity which is most at crisis. Skyfall constantly switches between passé and new-age 007 that it fails to find or even stick to an identity for the sake of consistency. Bond is more believable in the modern adaptation but the film expects the audience to accept its questionable narrative logic for the sake of plot advancement. In past Bond films this would not be a problem but following Casino Royale, where plot advancement made some semblance of sense, in Skyfall this comes across as overreaching.

Though there is no denying that the recent 007 films have all employed rather commendable performances from the entire cast, especially that of Daniel Craig who has provided a sense of concrete believability to the somewhat caricature nature of Bond. While Bond in Skyfall is much worse for wear than he has been, there is no denying that Craig does, at times, come off as far too stiff. This is a most noticeable when he has some quick words to spare upon someone, otherwise the forlorn act he presents can make you feel for him, though whether you choose to buy that is another matter. Judi Dench continues her stellar performance as M and its great to see how her role has matured from the Brosnan era to the Craig era, and with her added screen-time for Skyfall she definitely does not miss a beat. Rounding off the trio of important actors is Javier Bardem as Silva. Silva is a different type of villain compared to that seen in the previous two outings. He is one part happy-go-lucky, one part vindictive and all sociopath, but still you never quite feel as if you should be rooting against him. Bardem portrays a charm that really pushes his character to the forefront of almost every scene he is in, outpacing both Dench and Craig with little effort. It is a pity that his character does not appear more often in the plot. The rest of the cast are all noteworthy in their performances. Naomi Harris as the operative Eve, Ben Whishaw as the new Q and Ralph Fiennes as Gareth Mallory, Head of Intelligence and Security all do a great job.

A welcomed change from Casino Royale, as echoed with Quantum of Solace, is the move towards a more diverse array of action sequences, such as vehicle chases. What makes the action that more effective are the locales themselves. There is a distinctiveness to the likes of Istanbul Shanghai, Macau, Gunkanjima Island, among others, that provide each action sequence is distinct personality. This is only made better by the fact that there are some great locale shots outside of Bond doing what he does best.

As expected of a 007 film sexuality has its place but within moderation. Language usage is emphasised on the odd occasion while violence, in which there is quite a bit is never explicit.

Skyfall is a fun film to watch. There is nothing that can deny this. Good acting, an interesting plot, an interesting villain; good action sequences and some lovely cinematography have the making for a top notch film. However, as interesting as Skyfall is to follow, its narrative caves within itself at points. The strange turn to humanise Bond about two-thirds through seems at play against what came before, and this itself is heavily played to the point that Bond himself begins to lose much of the intrigue that makes him who he is. Additionally, some plot advancements, like Silva's plan, do not get the attention the audience deserves in terms of understanding how it ultimately works. And lastly there is the dual identities the film attempts to balance, but that never feels like it really comes off. Bond is still doing what he does to be the world's super spy icon, but sometimes, maybe the world is not enough.

A lot has happened since the release of the original Ice Age when Manny, Diego and Sid first met. This time around, their existence is threatened when their continent begins to break apart, forcing everyone to have to flee from their established homes. However, things go a little wrong resulting in Manny, Diego and Sid being caught up in a battle against a pirate ape, Captain Gutt.

For those who have not been keeping up with all the release of the Ice Age series, going to view the latest installment should not prove to be any hindrance into the overall world that has been created. Sure, the relationship between the protagonists may not be fully understandable but each's unique personality is unveiled very early. This ensures that you do not have to think too much and you can let yourself go for the adventures which ensues. This is not to say that Continental Drift is devoid of any tangible story, it is just not a unique or promising one. In short, the main characters are trying to get back to their families (well Manny at least) and this brings up the tried and tested theme of family bonding. There is a good lesson here to be taught to kids, though parents are most likely going to ignore the fluff. Thankfully, the film does have its fair share of good laughs. Most is aimed at kids which can provide the odd smile but then at times the writers do their best and it shows. Continental Drift is not a minute-by-minute comedy affair, but every aspect of the story and writing do adequately fall into place.

The voice acting is a lot of fun, mainly due to the performances by Ray Romano, Denis Leary, and John Leguizamo. The rest of the actors are by no means bad, for they all feel and sound comfortable in the roles assigned to them. This brings about a voice talent that fits well within the mould of the story itself allowing dialogue and comedy to be presented in a clear manner without ever sounding incompetent.

Technically, the film is pretty good. The animation is crisp and clear though lacking any noticeable advances in the medium. The 3D is not too bad itself: it is never distracting nor does it particularly standout or enhance the experience. But what was pretty fun was the full 4D effect. Moving chairs, water vapour being sprayed on you and air passing by your skin. While 4D is not something new to anyone who has experienced it, it did feel like it enhanced the film-watching experience. I cannot imagine it being suitable to all types of films, but in the case of a 3D animation like Ice Age, the film begins to feel more fun for it.

As an animation aimed at children, the worse the film receives is some name calling and some relatively non-violent action scenarios.

Ice Age: Continental Drift can be seen as a somewhat tired film. It's story is not particularly strong nor is the comedy always engaging. But it wades through these rough seas to make an impact that is adequate enough to keep your interest through to the film's conclusion. Add in some nice looking animation and the bonus 4D (if you are lucky) and the end result is something that can be enjoyable if you allow it to be.

It has been 7 years since the Joker caused havoc upon Gotham and Batman made the decision to become a fugitive for the greater good of the city. Since then, Gotham has undergone a massive overhaul in terms of battling crime, with the city experiencing a peace it had never before, and without the need for Batman, who has disappeared. Yet, all of this comes under threat when a man by the name Bane attempts to restructure Gotham into his own making.

Christopher Nolan has crafted something unique with his Batman trilogy. Instead of following in the footsteps of all those before him, Nolan attempted to take Batman out of the comics and into the real world, so to speak, in a way that made some sort of logical sense. It is a different kind of superhero movie and The Dark Knight Rises continues this trend. The time jump between the previous film and this one can be a little jarring at first. There is no real sign that things have changed in Gotham with the only information provided by various subtle conversations about the situation as it is. In some ways this can be problematic as it is difficult to truly gauge the context Nolan is attempting to create. But, it is this sort of understatement that encompasses the entire film. Things are not as they appear, and Nolan is not attempting to deceive the viewer of this: the fact that characters talk about Gotham but hint at problems ultimately serves as the perfect backdrop in which to force Bruce to take up the mantle of Batman once again. The rest of the story continues at a controlled pace but at times it can feel rushed. The motivations for some characters have to be understood and accepted almost on the spot and it can feel like such reasoning's are never given time to truly develop. Nevertheless, the story brings about what makes superhero movies so important: overcoming obstacles, and for Batman's 3rd attempt at character growth, it is a wonder to see the character become more then even he himself expected. As usual, some other characters are given some spotlight (and perhaps more so then the previous entries) such as the young cop John Blake (Joseph Gordon-Levitt) and Selina Kyle (Anne Hathaway). The story can feel rushed towards the end. The final 30 to 45 minutes cover a really long time period within the story and the sequence of scenes Lastly, even though the film is a direct sequel to The Dark Knight it is important to note that thematic elements from the first still exist in order to build character development.

Supporting the well crafted, albeit slightly rushed, narrative is a top line of acting performances. The usual suspects (Caine, Freeman, Oldman) get the nods they so deserve for their respective characters but the new cast are thankfully just as good. Anne Hathaway as the mysterious Selina Kyle portrays the character with zealous and appears to have a good grasp on facial cues to truly sink in the reality of her character and the world around her. Next is Joseph Gordon-Levitt who, in comparison, brings a more reserved performance to the inquisitive cop Blake. But a nod must be given to Tom Hardy as the formidable Bane. Bane feels powerful whenever on the screen and his voice is enough parts dominant and sophisticated to emphasis Bane as more then just some brute (as evident in pre-Nolan Batman). There is a good cast here, and they make their characters work. Finally, credit must be given to Bale who embraces the role of Bruce and Wayne and Batman head on. There is a subtle vigour to his performance which really strikes home his characters' anguishes and attempts to overcome the obstacles in their lives.

The most evident of the camera work this time around is that Gotham is not as much of a centre piece as it was before. In previous films, it was possible to see Gotham as a character in its own, especially since villains emphasised a need to test the limits which the city itself possessed. In The Dark Knight Rises, the test that occurs is not as apparent at first but the theme of a united Gotham continues. The film is also very much about the human characters and the camera supports this. That said, there are some great scenes throughout the film but the truly unforgettable scenes are more sparse than previous scenes in the trilogy. On a stronger note, the musical score is expectantly mesmerising.

As expected of the series, the film has a slightly darker feel than other superhero films but never to the point of pushing the envelope in terms of appropriate content. Violence is a standard affair though the kill count is higher then before. Language is almost non-existent and the same can be said about sexual elements.

Nolan's trilogy has finally come to its end after 7 long years, and there is no doubt that the wait for the finale was worth it. Like Batman Begins and The Dark Knight before, The Dark Knight Rises is virtually a top tier contender in every way. There is little to fault in a film that combines the fun of a superhero flick with the thoughtfulness of a human drama. If you believed in Christopher Nolan before, prepare to have your faith rewarded.

By her 30th birthday, Rachel (Ginnifer Goodwin), a dedicated attorney, bemoans the fact that love is not in her court. Her best friend Darcy (Jennifer Hudson), however, is closed to being married to Dex (Colin Egglesfield) whom Rachel met in law school. After a few drinks together Rachel confesses to Dex that she always had a crush on him which leads to both sleeping together. With Darcy's wedding not long away, Rachel finds herself in dubious territory.

Something Borrowed had the potential to be a multifaceted affair. On one hand it is your average romantic comedy and on the other it offers a portrayal of ethical issues surrounding love. It is a pity the latter is downplayed to a rather basic understanding of the issues. The narrative does its best to help the viewer identify with Rachel and it is not difficult to do so for the first third. She is the good girl who is studious and in love with a guy who she feels is too handsome for her, but loses him to her best friend who always has to be better than her. This sort of identification begins to fall away with Rachel's self pity, which is thankfully attacked by her long time friend Ethan (John Krasinski), and her rather willingness to engage in an affair. While the ending is not something new for the genre, it is quite surprising how the film appears to glorify the act of cheating to the point of it being acceptable. There are no dire consequences to actions and so the narrative becomes unfortunately one dimensional. That said, there is no denying the fun factor associated with the romantic comedy nature of the film so it is not all bad.

Thankfully, the actors do a decent enough job of keeping the story afloat. Goodwin and Egglesfield are perhaps not quite up to par with Hudson and Krasinski. This is easily due to Hudson having the most exciting role and Krasinski stealing scenes with his humour and charisma. This merely leaves the more romance orientated and weak dramas scenes for Goodwin and Egglesfield to wade through.

Considering the thematic elements expressed in the story, sexual content is fairly tame and without nudity. Violence is only really shown through a horror film being watched by some characters and language is on the tame side.

There is potential to push past the romantic comedy genre, but the story of Something Borrowed is light hearted to its detriment as the possible avenue to build a thought provoking tale is never really attempted. Additionally, not all of the actors are given the strongest material to work with and this becomes evident when the best scenes require particular characters. On a simple level Something Borrowed does work, but with such pressing issues alluded to early on in the story it is saddening that nothing comes of them: something blue indeed.

On the way to hopefully finding the fountain of youth, Jack Sparrow (Johnny Depp) finds himself in a dire predicament when he is captured by his ex-lover Angelica (Penélope Cruz )and the nefarious Blackbeard (Ian McShane). They require Jack's help in finding the fountain in order to save Blackbeard while trying to avoid the clutches of Barbossa (Gerofery Rush).

As a sequel to the original Pirates of the Caribbean trilogy, On Stranger Tides attempts to refresh the series by concentrating on an uncomplicated narrative. Instead, the film takes a page out of the original film in the series but not quite as successfully. There are a few plots being weaved together but they all come up short in execution which ultimately threatens the potential of various associated characters. The core reason is due to the lack of detailed exposition. The most problematic of these is the love story between Philip (Sam Claflin) and the mermaid Syrena (Astrid Berges-Frisbey) which is evidently undeveloped and unimportant to the overall narrative. Their growing love lacks tangibility and it becomes frustrating when their conclusion becomes a guessing game for the audience. There are various plots developed but they are underwhelming and this hurts the film as the action sequences alone cannot stop the odd scene from dragging along. For the most part the film is a fun watch but just not a particularly great one.

The acting is passable enough as Depp and Rush convey their characters in a similar fashion to older films. Cruz and McShane add positively to the cast with the former bringing some zest to the film while the latter does bring the expected arrogance to Blackbeard. Claflin and Berges-Frisbey are not able to be quite as convincing. However, this is mostly due to their limited capacity in the film, which comes from the limited nature of their respective plot on the overall narrative of the film. On Stranger Tides also sports a far less noticeable and capable supporting cast when compared to the original trilogy which is disappointing, so the chance to offset the major situations in the film to the lesser cast is next to impossible.

There is an extensive use of CG throughout the film and predominately with good results. What is a strange decision is to have a large portion of the film shrouded in darkness. A lot of the film deals with enlightenment, either by faith or common humanity, but the filmmakers attempt to ensure you do not feel the same way as the lack of visibility can, at times, hinder the viewing experience.

The film contains no sex though the mermaids are clearly naked even though nothing explicit is shown. Language is mild at best as it is more in the name-calling variant. Violence comes in a variety of forms but deaths are mostly tame.

On Stranger Tides appears as a semi-reboot of the series, being more in liking with the original film and therefore losing the unnecessary scale At Worlds End attempted to provide. But the simplification has gone perhaps a little too far with a thin narrative and a thin cast of characters that ultimately fail to ignite. At its best, On Stranger Tides has everything that made the franchise good, but these moments are never frequent enough or long lasting making the film like spotting a mermaid: if you blink it will most likely be gone; and that just may well be a good thing.

Jacob Jankowski (Robert Pattinson) has a bright future ahead of him: with the Great Depression ravaging through America he has the chance at a good job as a veterinarian and a stable life. This all changes when he discovers that his parents have been in a car accident and that he is illegible to own their house. He tries to renew his life's purpose and by chance comes across the circus troupe of the Bezeni Brothers where he meets the cruel owner August (Christoph Waltz) and dazzling Marlene (Reese Witherspoon).

Titanic on a train: you would be forgiven if this was your estimation of the film based on previews and for the most part you would be right. Based on the award-winning novel of the same name, Water for Elephants tells the story of a man who has to redirect his life after it is derailed from some unfortunate events. The story is told in a linear fashion and it is a pity that not more is made of the idea of reality vs. illusion which is a noticeable subject in the odd dialogue interchange. While this concept has more in liking with who a character really is and what information they know but do not let on, the concept is nevertheless never fully developed and ultimately explained by the characters themselves. Nevertheless, other themes present themselves in more subtle and interesting ways such as the images of railroads and water allowing the experience to not be all dictated. In the end, the film feels like a reworking of James Cameron's Titanic with a new setting and a new cast, but it most likely will not have the same cultural impact.

Romance becomes pivotal to the development of characters and the respective actors prove capable. Robert Pattinson will obviously be the centre of talk for the film and he does well for himself here. If you did not feel that Remember Me was a step in the right direction from a Twilight-esque future, then this film will surely give you the impression that Pattinson at least has the potential to mature his acting in a commendable manner. Witherspoon does an adequate job in her portrayal of Marlene and wriggles in workable chemistry between herself and Pattinson, but ultimately she does little to truly shine beyond her male counterparts. But experience is what steals the show with Waltz exemplifying a character who can pull you in with his charisma and idealistic hopes but who can also repulse you with his cruelty. Waltz is indeed the strongest link in the acting department but do not let his performance undermine the rest of the cast, especially the supporting roles who help create a holistically believable set of characters.

All of this is strengthened by some decent costume design and film direction which brings every scene to life gracefully. There is some questionable CGI use for animals towards the end and the environment does not get quite the showing it could but the film feels balanced and admirable in portrayal of one man's journey of self-discovery.

Sex and nudity are, at most, hinted at and language is mild at best. There is some violence mostly in the regard of fist fighting but also the rare off-screen violence towards an animal.

As mentioned earlier, Titanic on a train could very well be an apt explanation of the film. There is thankfully enough substance to allow the story to craft its own image but only just. This coupled with some slight CGI mishap and a narrative that does not always allow one to ponder on certain ideas, are not enough to truly hurt the overall quality. The story is lovely; the acting is strong; and the filming is delicate in what it offers. It may not be the Titanic of the time, but it is hardly a bumpy ride either.

The small village of Daggerhorn is an isolated one and for good reason: for 20 years it has been subject to attack from a werewolf during every full moon period. The village has a pact with the werewolf as they offer it live animals in hope that none of their people are harmed. This appears to change one day when the sister of Valerie (Amanda Seyfried) is killed by the beast. Coupled with issues of love and her future, Valerie is caught between two potential suitors and a frenzy hunt for the wolf.

Adapting the tale of Little Red Riding Hood was always going to be an interesting undertaking, but the result is a mixed bag. The narrative obviously expands past the scope of the original tale in order to create a cohesive context in which the story can unfold. The main problem with the story is the apparent lack of depth. Many possible themes arise including issues of sexuality, feminism and identity, but these go largely unexplored and mean little by the time the credits roll. The action that is presented is merely to mask a romance story which is pretty predictable by nature: the question is not who Valerie will end up with but rather when it will happen. It does not help that characters fall into the stock variety, such as Father Solomon (Gary Oldman) who ends up being quite cruel with his methods of helping the village. Characters also go underdeveloped: besides the small arc involving infidelity between two families, characters just seem to exist for the sake of it. Take into account that decisions that appear so obvious for characters are ignored just to build tension, then it is no wonder that the films length begins to feel artificially made. Add in come clichés and a mystery which resolves itself out of nowhere, and you have a narrative that is both lacking in cohesion and quality.

The range of actors is by no means impressive but it is definitely both intriguing and manageable. The younger cast are sadly quite wooden most of the time and considering they are the ones around which the love triangle revolves, the chemistry is just lacking. The love between Valerie, Peter (Shiloh Fernandez) and Henry (Max Irons) never rises above its Twilight roots. Seyfried can be given some credit since she does convey a larger set of emotions than everyone else in the cast. Sadly, the older cast do not exactly fair much better, but it is unfortunate that it is up to Oldman to lend acting experience to the film, and he definitely has presence in his scenes.

If there is a saving grace it is the overall atmosphere of the film. The opening scenery is testament to a film that is trying to create an overarching environment in which to position the village in isolation, but also to present the mystical feeling of a fairy tale. While not the most striking scenery, the woods look straight out of Twilight for example, the effects give a fantasy element that very much cements the film in its fairy tale origins. The CGI for the Werewolf is lacking but it is a minor issue in a film in which director Catherine Hardwiche is able to mesh both darkness with the odd scenes of gorgeous scenery fairly well.

Language features minimally throughout the film and nudity is nonexistent. Sex never really features though sensuality is present at times. Violence is quite apparent and besides a quick shot of the removal of a body part, violence is neither gory nor that bloody.

The angst of teenage love in dark fantasy is definitely a hot topic for cinema, but Red Riding Hood does not expand the idea in any meaningful way. The scenery is great, Gary Oldman is great, and Seyfried is adequate, but that is about all the film does right. Acting is generally weak and the story offers mild entertainment worth. With a superior script, Red Riding Hood could have offered a delightful retelling of its original material because the potential is there, but as it stands the film will not have many filmmakers green with envy.

Stuck in a secret tower for almost 18 years of her life, Rapunzel has been lead to believe that her special hair is a treasure which should be guarded from the world. She has never left the tower ever since being locked away, but this changes when Flynn, a thief, enters her life.

The classic tale of Rapunzel has many variations and Disney has decided to add their take to the tale by imbuing Rapunzel's hair with the ability to grant health and youth. It is through this very change that allows Disney to retread a narrative formula they used so effectively during their golden age of animation: the young princess at odds against an older, yet wicked, woman. This is introduced early in the story and constant interaction between Rapunzel and Mother Gothel ensures the audience never forgets the tyranny that has taken place. Tangled is, without a doubt, a story of self-discovery, and both Rapunzel and Flynn are evident of this growth. Naturally, this is more obvious through Rapunzel, and it comes as a breath of fresh air that Disney has allowed one of their princesses to act her age. Gone are the mature thinking and acting lead women of older stories as Rapunzel is childish, but ultimately charming. The self-discovery story arc does feel undeveloped as the credits roll, but thankfully the narrative is filled with symbolic gestures, such as the visual connection between lanterns and Rapunzel's hair, and life lessons for both children and adults alike. This is all bolstered by some strong humour that is never overused resulting in the narrative being a highlight of the film.

The voice actors do not disappoint as each is convincing as their respective character. Moore is delightful in displaying Rapunzel as a teenage girl who learns to be independent; Levi brings charisma to Flynn; while Donna Murphy ensures that Gothel is villainous but one who can manipulate that very label.

For the most part, the computer imagery achieves the desired goal of 3D variation of Disney 2D animation. Colour is rich, characters and animals are enjoyable to watch, and the complete sense of wonder is indeed present. If watched in the 3D perspective, the animation does slightly come to life but it never overly used and feels minimally underdeveloped. If there is a slight flaw to be found in the animation it would the occurrence of what appears to be unfinished textures. Many boulders, for instance, look rough at times, but this is thankfully uncommon.

This is a Disney animation through and through so the lack of sex, nudity and language is expected. Violence is tame and at times even comical, ensuring the usual Disney animation that kids can enjoy.

Tangled is a true gem for Disney and animation in general. While it lacks the overall appeal that has made Pixar animations such a treat, it is nevertheless a step forward for Disney as they retread the type of animation that made them so famous. There a few graphical niggles and the story never quite reaches the promising depth suggested by the material, but these are minor problems in what is largely an entertaining and pleasing animated venture.

20 years after the disappearance of his father, Sam Flynn (Garrett Hedlund) receives a message from his father's rundown arcade. Upon investigating, Sam stumbles upon a secret room in which he is transported to the virtual domain of The Grid.

It has been many years since the original Tron was released and the sequel plays on this by having a narrative that addresses the very absence of a followup to Tron ,very much like the protagonist Sam has to deal with the mysterious disappearance of his father. In this sense, the audience is very much like Sam as Tron Legacy is clearly designed to appeal to a new generation of moviegoers. This does come with its own set of problem, namely that the story fails to utilize the computer programing jargon which made the original so interesting. Programming is touched upon at times, but it almost feels as if the writer's felt it may complicate the story unnecessarily. While this may be possible, it does not stop the fact that specified jargon would have created a far more convincing context for the plot, as well as create some needed depth to the themes which are presented. It is a pity because Tron Legacy has the potential for deeper discussion but it rarely presents the opportunity for such an endeavour.

Thankfully, the linear narrative is helped by an enthusiastic cast. Oscar potential is not on the agenda, but the actors are definitely watchable. The respective characters portrayed by Hedlund, Jeff Bridges and Olivia Wilde, who which the story revolves, are is likable in their ambition. Sam is a rebel who is wayward by his father's absence while Flynn yearns for nothing more but to see his son again. It is a compelling side story which brings about emotional response from both character, but unfortunately never ever convincing enough. Bridges also sports the chance to play Clu, the digital representation of Flynn. This is intriguing as ti allows Bridge's to also play a smug villain who is very different to that of Flynn. It is, however, disappointing to find Tron himself pretty much absent from the film considering how important he was in aiding against the MCP of the original film. Bruce Boxleitner gets some screen-time but it would have been nice for him to get some more.

Either way, the visual and audio of the film are an absolute treat. There are some stunning uses of CGI and special effects that create an impressive visual design, such as the modeling of a younger Bridges and the stark contrast between dark and light create an almost monochromatic feel. It should also be said that the use of 3D is amazingly effective, especially when helping differentiating the real world to that of The Grid. The musical score was composed by Daft Punk: their upbeat characteristic really aids the film's overall tempo allowing action sequences to feel more intense and any slow moments to be almost forgotten.

There are some sexualised women represented with tight bodysuits and profanity is hardly even mild. The film is action orientated but death sequences result in character deconstructing considering they are computer coding rather then physical beings.

Tron Legacy ends 2010 on a high note. While it lacks the ambitious nature of the original story and with acting that is not always entirely effective, Tron Legacy is nevertheless an absolute feast for the eyes and ears. The film's minor shortcomings are just that as Tron Legacy overclocks itself in presenting an entertaining experience.

The King of Fighters tournament is one in which participating members are transported to an alternate dimension to engage in a fight. This is made possible due to three ancient artifacts that allow this dimension to exist. The members come under threat when Rugal (Ray Park), a previous member of the tournament, steals the artifacts and begins to manipulate the other dimension to his own liking so as to kill anyone who enters it. It is left to Mai (Maggie Q) and Iori (Will Yun Lee) must enlist the help of Kyo (Sean Farris) to defeat Rugal before too many lives are lost.

The film adaptation of The King of Fighters loosely follows that of the original King of Fighters '94, with some elements from '95, in which Rugal starts the tournament so as to get some excitement into his life. The most notable difference in the adaptation is that the tournament is already established and also that the fighters need to be in an alternate dimension in order to fight in a way which resemble the original game. The science fiction-esquire twist on the narrative makes for an intriguing story but the films never really explores the concept. The story is fashioned in a linear manner, with the odd reference to past sequences to help explain certain information. Unfortunately, the plot is fairly thin: it presents opportunities for further development but these avenues are never fully explored.

The acting quality is not exactly great but this is somewhat understandable considering the cast. That said, no actor ever falls prey to evidently poor acting and with more depth to the script a better acting prowess could have been shown. Actors generally take their roles seriously: Park seems to enjoy the eccentric nature of being a villain while the likes of Maggie Q, Lee and Faris portray the motives of their respective characters adequately enough.

The overall filming quality suggests that the film-makers had a low budget to work with. The King of Fighters appears to be filmed more like a television show then an actual movie but that does not stop some fairly enjoyable action sequences, yet these only become common in the latter half. CG becomes present mainly towards the end and looks low-key but nonetheless workable.

Beyond the makings of a possible girl-on-girl scene, there is no nudity or sexual content present. Language is tame and infrequent while violence is frequent throughout the film without ever being gory or bloody.

There is no doubt that The King of Fighters is a missed opportunity. With some obvious reworking to the script and story, and a better budget, the film could easily have been a more commendable entry for video game-to-cinema adaptations. What really needed to happen was the fleshing out of the characters and the overall narrative to create a more cohesive product. That said the story, actors, and some decent action scenes, are adequate enough to carry The King of Fighters to its conclusion and miss a definitive K.O.

After finding herself alone and detached from society, an unnamed woman (Lotte Verbeek), backpacks through Ireland seemingly wanting to lead a solitary existence. With no more than the clothes she has on her back and some utensils like a small tent, the woman discovers an isolated house belonging to Martin (Stephen Rea) who also appears to be living his life alone.

Nothing Personal tells an intriguing story of loneliness and this becomes quite apparent due to the less than normal use of dialogue, minimal use of accompanying music, controlled camera shots and the muted colour scheme which fills every scene. All of these traits slowly increase as the film continues, and from a visual and audio manner it is great to see the relationship between the woman and Martin develops. The narrative uses a linear flow but it becomes quite a shame that it is broken into noticeable chapters: each chapter begins with a black screen and a word, such as 'marriage'. Beyond hurting the flow of the film these wordings do not exactly portray the tangible events about to occur, but rather abstractly feel as if the director needed to guide the viewer into a particular point of thought in regards to the events about to take place. This guidance erodes at the loneliness theme of the narrative and inevitably makes it more difficult for the viewer to truly appreciate the resonance of story and the characters. An aspect which could have gotten a little extra information for story purposes is in regards to the history of both main characters. By the conclusion, the plot ultimately retains an element of uncertainty as it is difficult to truly gauge the strength of the conclusion on characters who the audience knows almost nothing about.

While neither Verbeek nor Rea provide strong acting performances both are adequate in depicting the different means by which people approach a feeling of isolation. Rea's character takes a more traditional approach to the experience whereas Verbeek seems somewhat off-the-wall. This is not a bad thing as this helps to differentiate the characters and make them more unique, but some of her actions can seem rather odd in an almost overly poetic manner.

Nothing Personal marks the full-length feature debut for Urszula Antoniak. Her control on scenes really does allow for some lovely landscape imagery, if muted by the colour scheme and harsh weather that surrounds the film, for the viewer to gaze up. It all works in enhancing the reclusiveness of the characters and the visual aids thus synch nicely with the thematic elements being explored. This naturalness is barred by some odd editing problems which occur infrequently.

The film contains no violence while language is strong but used rarely. One scene could constitute as sexual in nature but otherwise there is none to speak of, yet breast nudity does feature in two or three scenes.

There is an emotionally powerful story to be told within Nothing Personal and this is noted by a wonderful use of minimal music and colour variety, however it never really succeeds as expected. The narrative does a decent job on impressing the experience of loneliness onto the viewer but, it is unfortunate that Verbeek and Rea are unable to find the connection between their respective character and the narrative material, and the story can feel thin when the credits roll. Still, Nothing Personal is not a film which should be easily dismissed.

While Bella (Kristin Stewart), Edward (Robert Pattinson) and Jacob (Taylor Lautner) continue their heated love triangle as to what is best for Bella's future, the nearby city of Seattle is caught within a mysterious string of killings and disappearances. The Cullen family fears the worse, as they are not sure whether the problem in Seattle is related to Victoria (Bryce Dallas-Howard) or the Volturi but nevertheless, they decide that it is best to take precautions in case they get caught up into a situation they may not be able to control.

Eclipse continues the Twilight Saga in a far tighter manner than both its predecessors and this allows for a far more effective use of the Twilight mythology. New revelations are made about the cultures of the vampires and werewolves and this aids the film with a more cemented supernatural feel. Additionally, certain minor characters are allowed to voice their respective pasts: this aids the film's narrative with added character depth as well as giving these characters a vital role in the events to come. The overall narrative is structured reasonably well with two poignant story arcs taking place and ultimately fuse by the end. However, the events in Seattle only provides a simple distraction to the poorly conceived love story which is clearly holding back the series. Thankfully, the love triangle in the film escalates into a stronger conclusion than expected, but that does not stop it being rough around the edges and filled with character development that seems out of place. The romance is also portrayed far too positively with the apparent negative consequences of such oppressive love going unacknowledged. Speaking of which, an apparent theme of selfishness can be ascertained from the primary characters yet it is never utilised strongly enough to help connect the characters. The narrative is commendable, in light of the previous attempts, and definitely a step in the right direction for the final two movies.

With added improvement to the story, it seems rather disappointing that the acting of the central three figures continues to just fall short. Stewart continues to proceed in a dull manner and by this stage it may just be what her character is truly like: but scenes of romance are never able to excite as you would expect of the vampire genre. Sure, the intent behind the love which surrounds the characters is understandable but it continues to lack feeling from Stewart though she does build life in the final arc of the plot. Pattinson is not much better but his acts of jealously do admirably convey the sort of sinister nature which belies his character's love: pity the film never plays on this. Lautner continues his surprising performance from New Moon but the script never really allows him to further his contribution. Minor characters continue to strengthen the acting ensemble but it is a pity that those who represent the Volturi, are either limited to a few minutes or are completely absent.

Another slight improvement is in regards to the computer animation, which flows slightly better this time around with the live-action; a soundtrack that does not always feel tacked on for commercial profitably as orchestra highlights some of the high moments in the film; and directorial control that makes for a more well-rounded experience in which some decent action sequences are allowed to come to life.

Language is in running with previous films with its minimal and tame use. There is no nudity but sexual overtones are slightly stronger in Eclipse than seen in the previous films. The violence factor has been increased rather noticeably, either via implication or actual on-screen events. There is a greater emphasis on action but the lack of blood in death scenes stops it ever being overly violent.

The Volturi may not grant second chances, and for the Twilight franchise that is a good thing. Third time lucky it definitely is as Eclipse is a marked improvement over both the original Twilight and New Moon, mostly because the overall quality is better. The narrative has more depth; the actors appear to be getting a grasp of their characters, and all while the balancing of melodrama with action takes place. The story offers interesting depth and developments which ultimately become underused and so it is unfortunate that no facet of the film is really as strong as it should be given this is the third film in the series.

When it discovered that a nearby holy city may be manufacturing weapons for enemy states of Persia, Dastan (Jake Gyllenhaal) and his brothers decide to attack the city in order to stop the treachery. When King Sharaman of Persia (Ronald Pickup) arrives Dastan offers his father a gift that ends up poisoning him. Dastan is suspected of murder and so he flees along with the captured Tamina (Gemma Arterton). Dastan soon discovers that he is possession of a powerful dagger that gives its bearer the ability to rewind time.

The Sands of Time is based upon the 2003 video game of the same name but there are few similarities shared between the two. For starters, the narrative is completely different but that does not stop certain story elements from the game sneaking into the odd scene of the film. Fans will definitely appreciate this aspect but their disappointment in the lack of faithfulness to the original game can be understood to some degree. While adaptations always bring about fun possibilities by never been entirely accurate, Prince of Persia forgoes a tale of the Prince finding redemption in place of a tried-and-tested tale of the protagonist attempting to clear their name of some terrible act not of their doing. This inevitably leads to a variety of locales in place of the single castle which contextualised the game and ultimately feels less unique then the premise of the film allows it to be. That said the story works just fine even though it loses direction on the odd occasion. It falls victim to being predictable at times but a decent mix of humour and some workable action sequences keep the experience from never being dull. On a side note, the film does get some depth from its political allusions to the US invasion of Iraq.

The cast can appear unorthodox considering it is a group of Westerners playing Persians and without any changes to speech. Though considering the original game contained a British speaking Caucasian protagonist, the casting come across more like a stylised option rather than a lack of desire to authenticity. The actors do a reasonable job but consistency is somewhat of a problem. At times the actors come across as flat but thankfully there is a charm to Gyllenhaal, intrigue with Arterton, and workable humour from Alfred Molina which prevents the acting from being poor. The chemistry between Gyllenhaal and Arterton only ever finds ground with their constant quips so their romance never feels involved enough by the films end.

The film is littered with computer animation and many acrobatic manoeuvres. The animation is an on and off affair but thankfully does more right than wrong. The scale of some of the imagery is wonderful such as the establishing scenes of the holy city and especially the Hourglass of Time itself. Though, the scenes involving the reverse of time appear underdeveloped. The acrobatic sequences are fairly enjoyable affairs but they are more akin to the Prince of Persia spiritual successor Assassin's Creed rather than the original game itself.

As a Disney film you can expect that nudity and sexual content play no role in the film. The same goes for language while the violence, frequent and somewhat lengthy at times, is relatively bloodless and involves a variety of weaponry slashes and stabbings.

Prince of Persia: The Sands of Time is an intriguing take on its source material, albeit an obviously commercial one. Perhaps, the creators felt that the original plot was not marketable enough and for all intents and purposes they are most likely correct. The problem for the film is its lack of individuality in a stream of Hollywood blockbuster titles: it is just a pity that with a workable plot and metaphorical imagery that the film never reaches the height of its proposed fantastical nature. Granted, the narrative, acting, and base level sense of wonder gets the job done and makes for a fun time. Though, you would think that if the creators themselves had access to the mythical Dagger of Time, they could have gone back and given the film the needed sharpening it deserves.

Six months after Tony Stark (Robert Downey Jr.) unveiled to the world that he was Iron Man, Stark has created an era of peace between the super powers of the world but he is faced with increasing pressure from the government to allow the military use of the Iron Man suit for military application. This does not come at a good time for Stark as competition from a rival, Justin Hammer (Sam Rockwell), is continued by the strange appearance of Ivan Vanko (Mickey Rourke). Vanko poses a threat to Stark as he shares the same knowledge on how to build the arc rector on which the Iron Man suit works.

Iron Man 2's story shares a little too much similarity to that of the original. Like the first, Iron Man 2 is not aggressive as it bathes itself in some quick humour and a rather silly middle-arc. This keeps the comic book feel of the source material unlike The Dark Knight, for instance, which attempted to rework Batman into a more real world setting. That said, Iron Man 2 does a great job of seeming real with some potentially viable politics occurring: the US government wanting the Iron Man suit for military application makes sense. In addition to this, Iron Man 2 does a decent job of setting in motion the upcoming Avengers film. Nevertheless, the film's narrative falters in two distinct ways: familiarity and lack of focus. The problem this time around is that the villains, and their motivations, are too familiar to that of the villain in the first film. Both Hammer and Danko appear as two parts of Obadiah Stane from the first film, and like Stane before they want the technology behind the Iron Man suit. Granted, Danko is able to make the arc reactor himself due to an interesting sub-plot, which plays less into the story than expected, but the villains ultimately come down to just wanting what Tony Stark has. Consequently, the arrival of two villains also brings along a few more heroes including Black Widow (Scarlet Johansson) and the arrival of War Machine. While it is great to see the Avengers plot moving ahead, it results in less glory time for Iron Man himself. By the film's closure, it feels as if Iron Man had not done enough with so many different characters getting perhaps a little more screen-time then they ought to. There was talk of re-shoots having to take place for the film and it shows at times: with so many characters and villains, the films pacing can feel offish on the odd occasion because there is just a little too much for what the story is trying to convey. Perhaps if structured a little more like The Dark Knight, in terms of villains and heroes, Iron Man 2 would have been a bit more coherent, but I suppose it just was not 'part of the plan'. Nevertheless, it is a workable story that keeps things going but it could be a lot tighter.

On the acting front there is a lot more to be desired, but there are still some slight issues. Downey Jr. and Paltrow slide back into their respective Iron Man characters with relative ease. It is also great to see how both build upon their characters as the character development allows them to: Downey Jr. is able to emphasise the despair and narcissist feeling he has about his own individual mortality, whereas Paltrow's gives Pepper Potts the more assertive nature she needs to keep Tony Stark in check. While their romantic relationship is not as strong as it could be, it is noticeable from their scenes together. Don Cheadle replaces Terence Howard from the first film and does a respectable enough job. The rest of the cast are adequate to a point with Rockwell overacting his role with decent results, Johansson being a little dull with hers, and Rourke not having nearly enough screen time to be a menacing villain.

The computer graphics are nice to look at but are never overly convincing. While they work there are odd occasions where the texturing on the Iron Man suits appears too cartoon-like. That said they look great in action scenes, of which there should have been more, while the special effects only prove to enhance the overall graphics.

Much like the first film, there is little in terms of swearing and no nudity beyond revealing outfits. Sex is merely referred to in passing while the violence, with some mild blood in the odd scene, is pretty similar to the first film with explosions, gunfire and hand-to-hand combat taking place.

Iron man 2 is a fun film but it is just not as good as its predecessor. While the basic plot resembles that of the original, Iron Man 2 is far too ambitious for its own good. The new heroes do not develop strongly enough and take away vital screen time from Iron Man. Likewise, the new villains feel underused and ultimately never pose any real threat, especially when they are easily outnumbered and outmatched by the heroes. The narrative is not focused enough and the action sequences are never as spectacular as they should be. Nevertheless, the narrative introduces some interesting developments and gets the basic ideas across to the audience, while the actors do a good job. Like Quantum of Solace, Iron Man 2 feels like a weak middle ground for a possible satisfying conclusion: the potential is there.

Taking on the case of a mysterious disappearance of a patient in a hospital for those who are criminally insane, US Marshall Teddy Daniels (Leonardo DiCaprio) and his new partner Chuck Aule (Mark Ruffalo) attempt to investigate a rather absurd escape. With the help of the head psychiatrist Dr. Cawley (Ben Kingsley), Teddy and Chuck attempt to unravel how a patient, named Rachael Solando (Emily Mortimer), was able to completely vanish from the confines of her locked room.

Shutter Island begins with a brooding image of a ferry making its way through some heavy fog, and it is the very enigmatic nature of the scene which claws its way throughout the narrative till the thought provoking conclusion. This becomes far more evident when many scenes and symbolic gestures in the film are soaked in a hint of polysemy. Of course this would not work without a very engaging storyline and Shutter Island makes for an exciting, and never dull, thriller. This is mostly achieved through the narratives pacing being quite consistent throughout for the film never felt like it was dragging. That said, it can be a little disorientating when the narrative decides its time to bombard information upon Teddy, and the viewer, in an attempt to guide the film to the mystery of Rachael Solando's escape. The film is by no means overly complicated but if you lose track of the information which these certain scenes attempt to convey, the films real twist can appear somewhat disjointed even if it is to an extent predictable.

The narrative is only heightened by a group of actors who do a convincing job of representing their respective characters. The character of Teddy is easily the most important and DiCaprio does a great job of conveying the character's need to find the truth while battling the guilt over the horrors of his own past life. Kingsley provides a wonderful performance as the head psychiatrist on the island who wishes to rehabilitate the mentally ill instead of resorting to measures such as lobotomy. He has a restrained and calm manner which exudes his character's intellectual capability. Ruffalo provides good support to DiCaprio, as he assumes the role of the concerned and eager to help partner. The entire supporting cast, involving the likes of Ted Levine and Elias Koteas, to name a few, all perform at their best to assure that Shutter Island feels highly believable, though it is just a pity that some of them only appear for a few minutes. This does result in Teddy being the only character with any real emotional appeal outside the intellectual nature of the film.

The filming style by Martin Scorsese is an absolute wonder, especially the final scene, as he utilises varying techniques in order to construct the web of events into something meaningful but abstract. Some techniques could appear unusable in modern films but they nevertheless work to enhance the film. Another good addition to the cinematography is how a few stylised camera sequences are used on single occasions allowing the film to constantly remain fresh. The computer imagery which accompanies the work is of a generally high standard with some beautifully rendered scenes enhanced by the Gothic atmosphere. Still, the computer imagery is not entirely top tier material with some scenes lacking the polish of others.

There is no sex in the film though nudity does make an appearance in one scene of a couple of seconds showing some male genitalia. Violence is largely in the form of Teddy's memories which involve soldiers being gunned down and blood appearing in large pools, both for realistic deaths and for artistic reasons. Dead bodies are shown throughout, some with bloody results, and involve adults and children. Language is contained mostly to F-words and blasphemy. Neither overpower the film and are sporadically placed through the plus 2 hour run time, yet the blasphemy can come across as slightly more excessive then required.

Shutter Island culminates into a fascinating outlook on how truth can be both liberating and destructive. This is achieved through a combination of a tight and absorbing narrative; superb acting performances; and a film style that enhances the Gothic atmosphere required for the thematic depth to be appreciated. The film does lose some footing with the odd narrative hiccup; some slight graphical issues; and a lack of emotional pull from the general characters for some part of the film. Nevertheless, Shutter Island is an intelligently taut thriller which allows its viewers to ultimately invest in its characters and story while providing ample entertainment.

While attending a party on a Victorian estate, Alice Kingsley (Mia Wasikowska) becomes interested in an apparent white rabbit she sees. Upon following the rabbit, Alice finds herself caught up in a magical world unlike reality known as Underland. Alice believes she is dreaming, but with the help of the Mad Hatter (Johnny Depp) she learns that she is needed to help stop the Red Queen's (Helena Bonham Carter) reign of terror.

Alice in Wonderland can, on first appearance, seem like a remake of the original story on which it is based. But as the story develops it becomes clear that it is a sequel of sorts following the life of Alice now that she is older. The narrative is divided into two parts, namely the Victorian setting which opens and closes the film and that of Underland of which the film is mostly comprised. There is a very interesting point of departure in how both worlds become important for Alice's development as a woman in Victorian London but the relation is just poorly implemented on Tim Burton's part. Though, it must be said that Alice in Wonderland is merely Lewis Carroll's original story just with a Goth coating and with less thematic depth: in fact it is perhaps one of Burton's least original and weakest in terms of narrative fecundity but the feminist undertones are noticeable. It should be noted that character development is perhaps the weakest point of the film with no character really showing off any tangible development whatsoever. It could be argued that Alice does grow as a character and this is what allows her to make the decisions she does in the end, but these actions only portray her original feminist ideas, rather than any self-reflection on her part of the society in which she lives. In a rather bizarre twist, the seriousness of the final act of Underland is finished by a rather unappealing, albeit slightly funny, act which hurts the more film then it helps. Humour becomes a largely hit-and-miss affair with some being plainly unfunny, though the Red Queen allows for some good laughs.

That said, the acting is a mixed bag with some actors getting their respective character spot on and others seemingly unable to do so. Alice and the White Queen (Anne Hathaway) are sadly examples of the latter which is disappointing since it is with these two that the film carries itself. Wasikowska may be able to look the part but she is far too subdued in her emotion and tone range for the feminist Alice, while Hathaway gets herself wrapped up in poor overacting. On the reverse there are some great performances to be seen with the Red Queen and the Cheshire Cat (Stephen Fry). Both are wonderful performances and easily help elevate the film's overall quality as Carter shouts out the most hilarious line of the film over and over without any dulling effect as Fry oozes a charisma that is sure to put a smile on your face. Lastly, there is Depp as the Mad Hatter: Depp comes across as playing his usual eccentric character which feels a little tiresome at times these days. On top of this his character's vocal change shows hint of his Jack Sparrow character which breaks the illusion of the film. Nevertheless, Depp does showcase why he is a talented actor but he never really does anything exciting to make the Mad Hatter that much different to previous roles.

On the opposite side of the spectrum the physical nature of the film looks and sounds delightful with some good use of computer animation and music. It is never on par with the likes of Avatar in terms of lushness, but there is a distinct cartoon feel which resonates well for the film: just as great as Fry is as the Cheshire Cat, so is the physical manifestation of the character an appealing sight. There are however some shortcomings such as wonky movement animation on the rare character and some major texturing issues resulting in some average looking character models. The added 3D elements in the 3D version of the film lack life and are unimaginatively used for the sole purpose of having the film released at 3D cinemas.

The film contains no sex, nudity or language. Violence is in small dose with some sword fighting which results in a creature having its eye taken out and another losing its head but it is far from being termed 'violent'.

'Wonderful' would be far too much praise for Burton's adaptation of Lewis Carroll's classic story. Like Charlie and the Chocolate Factory before, Alice in Wonderland shows why Burton's version of an existing story is not always a good one. The narrative lacks depth with feminist dealings being the only core concern; character development is unheard of; and the overall acting ensemble do not do the overall cast justice. That said the computer animation serves the film's source material adequately enough; the musical score is worth noting and the film offers a potentially fun experience: it just lacks the wonder it so desperately needs.

After learning that his brother has disappeared, Lawrence Talbot (Benecio Del Toro), returns to his family estate to find that his brother was the victim of a ferocious attack. Lawrence decides to find out what happened to his brother all while trying to juggle relations with his brothers fiancée, Gwen (Emily Blunt), and his alienating father, Sir John (Anthony Hopkins). Inevitably, Lawrence is attacked in the same manner as his brother but manages to survive. This only leads to him being cursed with a transformation into a werewolf during a full moon.

1880's England is a lovely sight to behold from the opening minutes of the film and the gloomy weather, architecture and somewhat sombre tone of the film only go to visually highlight the very important Gothic themes with which the film will utilize. Thankfully this remains a constant throughout the film for the narrative does not. The story starts off interestingly enough with increasing debate as to whether a beast or lunatic is going around killing people. The plot thickens when it is discovered that Lawrence himself was placed in a mental asylum when he was younger and the introduction of Scotland Yard inspector Aberline (Hugo Weaving) gives the film the very sense of mystery it needs. Though Aberline does very little in terms of tangible investigation as the film's opening few arcs fall away to some very quick plot reveals. And this is one of the major problems with the film's story as a whole: so much is revealed so quickly that the last third to quarter of the film contains nothing for the narrative beyond a poorly conceived romance between Gwen and Lawrence. This, in turn, only happens because character development in terms of relations is not fully realized. If anything, the asylum arc of the film is very enjoyable next to some fun, albeit rather violent, action sequences. And the inclusions of some genuinely good horror elements add to the dynamic, even if lacking, narrative.

The acting performances are also somewhat on the weaker side. Del Toro and Blunt seemed somewhat distracted. Of course the death of Ben Talbot (Simon Merrells) lingers over both of them but their melancholy never feels real. Both do become progressively better by the films end but never really enough to show what both are capable of. Hopkins has an intriguing role as the protagonist's father who lives in the family estate by himself but his character lacks the emotional impact to allow much from Hopkins. Weaving is the best of the lot and gives his character the life he needs to appear as both a concerned inspector of the law, while also a figure that could potentially see his duty as above common humanity. Weaving's character is not explored enough so his screen time can feel limited at times.

On a better note the technical aspects of the film are quite compelling. The very bleak look of the films setting hits hard the atmosphere that is to be expected from the remainder of the film. The CGI and special effects are largely good enough to help capture the Gothic essence but there is the odd moment where it seems poorly implemented, such as when there is a close-up of the werewolf running at a high speed. Architecture is used well with costume design clearing indicating towards as faithful a recreation of 1880's England as possible. Lastly the look of the werewolf himself is workable and exudes a promising menacing force for a monster film.

There is no sex and almost as little use of language. There is no direct nudity but a female character is shown from behind without a top on. Violence makes up for what is missing however, with some violent, bloody and gory sequences involving decapitations and other more beastly attempts at mutilation. As expected, these are all done during the night which somewhat blankets the violence but nevertheless it can be quite explicit even though the deaths are not lingered on for long.

There is much to love in the opening half of The Wolfman as it sets itself up for a potentially thrilling finale. But for all the intense Gothic atmospheric inclusions that the film uses for its foundation, such as the costume design, CGI and scale of the visual treat that is 1880's England, it nevertheless falls apart by the films end. If you wish for a dark and bloody exposition on a werewolf then you should be satisfied, but that does not stop some underwhelming performances and a thin narrative from impending the transformation of excellent ideas into an excellent film. At one point Sir John exclaims: 'The beast will have its day' but for now The Wolfman will have to do until that day comes.

Sherlock Holmes (Robert Downey Jr.) and Dr. Watson (Jude Law) successfully complete another case when they are able to capture Lord Blackwood (Mark Strong) who is responsible for a series of ritualistic killings. Blackwood is sentenced to death and buried but when it is discovered that Backwood has been resurrected from the dead, Holmes and Watson are compelled to reopen the case.

The story contained in Sherlock Holmes is interesting albeit untamed. Plot development occurs at an almost rapid pace thus making the narrative seem more complicated than it perhaps is. It does not help matters that by the end of the film, almost every single scene seems to play some part in Holme's investigation: it feels forced at times and interactions feel scripted rather than natural. And for a film based on a highly intellectual detective, the logic of some scenes walks on thin ice. Nevertheless, Sherlock Holmes does contain some characteristics that were prevalent to the character in the original novels, such as the ability to fight. What is presented is a Sherlock Holmes who is just as capable physically as he is mentally. At first this may appear to overshadow Dr. Watson considerably, but thankfully Watson is shown to be Holme's equal allowing for a fair exchange in solving their case.

One of the interesting dynamics of the narrative comes from a couple of short segments where the audience is introduced, though loosely, to how Holmes contemplates overcoming an obstacle. This comes about a couple of times but only before he proceeds to completely defeat an opponent in hand-to-hand combat. However, this sort of scene never occurs when you would most want it to: when Holmes is using his intellectual prowess to discover clues for his investigation. Instead, Holmes is left keeping his intelligence a secret, which seems rather absurd at times considering how rapidly he is able to deduce information. It only becomes slightly more annoying when it is taken into consideration that there is very little in aid for the audience in terms of trying to piece together the criminals plan. Sherlock Holmes is less a crime mystery and more an action adventure but regardless of one's preference the film is a fun watch for the most part.

Acting is a far steadier factor for the film with Downey and Law putting a lot of energy into their roles. This pays off with both having evident charisma about them and their screen time together is easily among the best in the film. McAdams is not quite as consistent with the rare poorly delivered line yet any fault she may have is never detrimental. Strong provides a formidable villain in theory, but for all his character's intellect he is far too weak a character to ever feel like possibly ousting Holmes. This mainly comes down to a script which does not allow more scope for the character of Lord Blackwood.

19th Century London is portrayed rather extravagantly with some great shots of the architecture and the attached gloomy atmosphere of a society still caught up in the industrial revolution period. Action sequences do not share the same flair and while they are workable they could have been better. Additional, music adds to the Sherlock Holmes experience but it never really enhances it and so feels more of an afterthought in the entire filming process.

The film contains no sex or direct nudity and language is just as mild serving only a couple of profanities. On the other hand, violence does make up a part of the film though it is never gory and hardly bloody as punches are thrown along with gunfire, hangings and explosions.

There is no denying that this new Sherlock Holmes adaptation is all about making the titular character appear more modern and exciting to the audience. The film is enjoyable with solid acting and a commendable story, yet the script has not appeared to have been scrutinized enough with its rapid nature and odd illogical mishap. You'd almost wish that Holme's himself had been asked to look over the script for the one second it would require of him: the film's story would be tighter and better for it.

In the distance future, the human race have discovered a unique planet, Pandora, in which a humanoid alien species, the Na'vi, exists. A highly valuable natural resource can be harvested from Pandora, and great lengths are taken to gain some control of the planet. Jake Sully, a paraplegic war veteran, is offered the chance to take part in a mission to help communication links between humans and the Na'vi by using an 'Avatar' which resemble the Na'vi in appearance. This involves him accidentally getting into the position of getting to know the Na'vi as well as possible in order to eventually persuade them to allow the humans to extract Pandora's valuable natural resource

There is an obvious colonialist subtext which clings to the narrative of Avatar from the film's opening minutes and this is quite possibly the most rich the narrative ever becomes with little else to provide much depth to the films essence. The story for Avatar is interesting but it is far too cluttered with linear directions on how the film should flow from one scene to the next that by the credits it feels like Avatar has accomplished very little. This is mainly due to the lack of insight provided into the world of Pandora and even the nuances of the Na'vi themselves. Both are explored purely on a foreign viewpoint and it can be argued that this works in conjunction with the world being presented by the human character of Jake, but even when he begins to fuse his being with that of the Na'vi, not much more is presented to the viewer. There is a lot going for the film but it is disappointing that more is not made of it. Another problem lies with the Na'vi themselves. Their language, voices, dress code and cultural mannerism lack any distinct criteria beyond metaphorical elaboration. The Na'vi are, simply put, a mere fantasy retelling of the indigenous tribes of Africa or even American Indians. While this does help the colonialist theme of the film and in making the narrative appear more real, it nevertheless makes the story less unique and only disregards any originality the Na'vi could have as a species. It does not come as a surprise then that the human protagonists are mainly Caucasian and the Na'vi counterparts are African or Native American.

Acting is a slightly better department but the actors don't have much to work with as characters fall into defined stereotypes and the odd lines of dialogue lack consistency. Giovanni Ribisi is one of the more spirited actors but he plays a conventional power hungry executive: he becomes representative of the two-dimensional nature of the villains. Caricatures do not stop there but they are less identifiable in the heroes of the story. Worthington provides a more delicate approach to his character showing a clear distinctness in tone between his human and Na'vi selves. This does become questionable at times when even at times of unease his human self appears somewhat lackluster. Zoe Saldana is a pleasure to watch, even though she is a Na'vi, and this is purely because she is more in tune with her character than any other actor. At the end of the day, character development is on the weak side, with one character seemingly deciding to make certain decisions even when little evidence was provided for the character to do so. This also goes as far as character relationships being glazed over, even by the last third of the film where characters seem closer than originally expected.

From a technical standpoint the musical score and computer generated imagery work wonders. The music definitely adds to the emotion and feel of the film heightening the more sad and courageous moments while also aiding in scene transition. The computer imagery is staggering in scope encompassing an entire environment. There is the odd scene where textures lose their realistic look but it is in the quality of the animation of characters, creatures and flora where Avatar shines.

While sex is implied, there is no nudity beyond the Na'vi wearing little in terms of clothing. Language consists of mild profanities and the odd blasphemous term, while violence ranges from a variety of gunfire and stabbings among others; violence is never gory with minimal blood visible, though some acts can be a little extreme.

Avatar is an ambitious film and it deserves to be so with the majestic landscape of Pandora, and her inhabitants, nearly being adequate substitutes for reality. With the well conceived musical score, Avatar has the technical factors nailed but it all falls apart when the film's core narrative is added to the mix. For all the possibilities available, the film forgoes depth for simplicity and convention. If anything, Avatar is an enjoyable film but an enjoyable film with substance that does not equate to its hype.

A young couple on the verge of engagement encounters what appears to be a supernatural entity in their house. Katie (Katie Featherston) makes note of being haunted by a shadowy ghost of some sort for her entire life and this spurs Micah (Micah Sloat) to decide that it would be a good idea to try and get video evidence of this phenomenon.

Paranormal Activity covers nearly a month period in which the protagonists attempt to film their experiences while being haunted. It starts off relatively slow and continues so until around the last third of the film. The narrative never covers everyday but only those in which some ghostly activity at night takes place and a few scenes documenting the next morning. As a result, the film ends up being slightly shorter than expected but the run time works well in condensing the overall experience into what it aims to achieve: uneasiness in the audience. Paranormal Activity is not devoted to scaring at every possible turn but rather in creating an overall tense atmosphere for its finale. Advertisements seem to suggest otherwise but anyone expecting the usual horror affair may be left disappointed, and deservedly so as the horror sequences are sporadic and short. However, the events that occur have a realistic nature to them, granted you believe in the supernatural, and this cranks up the uneasiness associated with the horror.

Though Paranormal Activity is more than just a documenting of some unexplainable event as it also provides an intriguing perspective into the breakdown of a relationship. Katie is completely horrified at what is taking place yet Micah never really takes it all that seriously until later into the film. This conflict of view begins to erode at their relationship and this becomes integral to the greater understanding of the film. The narrative is not entirely ambiguous as other supernatural texts, but enough will be left unanswered to prompt further discussion on certain actions and scenes in the film.

While not performed by complete professionals, the acting is pretty decent and believable enough. The contrast of views between Micah and Katie are easily apparent, and the nuances in each character is performed adequately by the respective actors as Katie is serious and scared while Micah wavers from being jocular to devoted concern. The level of acting does decrease at times but considering the offering at hand it is not overly problematic.

The film has a budget of around $15,000 and does obviously show with the hand-held camera perspective used for the film. With this sort of restrictive camera application horror scenes have to be quite calculated. Nevertheless, the style of the film results in longer than expected intervals between horror moments.

While language usage contains merely a handful of F-words amongst others and violence limited to one or two non-graphic scenes, there is no nudity or sexual content.

Unlike the horror genre in general, Paranormal Activity is never about its different parts but rather the experience as a whole. Combined with a somewhat slow narrative pace, Paranormal Activity becomes a film that is both interesting yet frustrating. This will surely result in a clear divide between those who appreciate it and those who felt that the activity of going to see the film was wasted.

As her 18th birthday approaches, Bella (Kristen Stewart) is finding it difficult to live a life where she would eventually become old while Edward (Robert Pattinson) retains his youth. When Bella's small birthday affair at the Cullen household threatens Bella's life, Edward decides that it is best if he leaves her fearing that he is causing her unnecessary danger. This results in Bella falling into a deep depression which her friend, Jacob (Taylor Lautner), hopes to relieve her from.

Continuing the novel adaptation of the Twilight saga, New Moon is a misfit of sorts in the series thus far. Regardless of how accurately the novel is followed, the narrative appears to present little new or different from the story presented in Twilight. Bella is still a sad and pathetic person who needs the love of someone else to keep her going. Instead of Edward being her source of love, it is Jacob this time around. And like the first film, Bella's life is under threat from a handful of vampires, and these happen to contain the remainder of the original group from Twilight. In essence, New Moon is just Twilight wrapped up in new skin, arguably paler this time, and it will feel like this for a good chunk of the film until the introduction of the Volturi, the royalty of vampires. This small arc in the film definitely ramps up the narrative into more interesting territory outside the lifeless romance of before, and the characters this romance entailed. Though the story does have one thing going for it and that is humour, and the genuine kind to boot. The film is constantly comedic enough that you may even forget that it was meant to be a tragic romance of sorts akin to Romeo and Juliet, which the narrative blatantly tries to intertextualise with. Inevitably, the story has little substance and feels like a bridge between Twilight and the remaining sequels to come. This is because all the intriguing mythology added to the series in New Moon, such as the Volturi and werewolves, contribute nothing to the film but rather that they could be useful for the sequels.

The acting is largely a better affair in the Twilight sequel but this mostly comes in the form of the lesser characters. Of the lot the more noticeable supporting performances come from the charm of Ashley Greene, the acute coldness of Dakota Fanning, and that rather mysterious elegance of Michael Sheen as the Volturi leader Aro. Of the three protagonists, it is only Lautner who makes any commendable effort at acting: he starts off rather low-key but gets himself into a decent position. It is disastrously unfortunate that neither Stewart nor Pattinson become anything more than simply dull. Both their respective characters are meant to be pained at the loss of being separated from one another but they always appear somewhat bored when in scenes together and show little conviction in their emotions. On the other hand, Stewart's scenes with Lautner have more going for them even when Stewart loses her gaze to Lautner's abs.

Director Chris Wietz brings a commercial feel to New Moon which was lacking in Twilight, yet New Moon ultimately feels less unique than Catherine Hardwicke's efforts. This does not help the film in any way as it has less going for it than its predecessor did. Music is a love-hate affair: it feels way too forced in helping create a certain mood that at times the music feels oddly misplaced. The special effects are much improved and now look far from awkward. While the CG is never overly convincing, it is integrated well enough as to not be a distraction.

For a film based on vampire romance, New Moon is pretty sexless in appeal beyond Lautner being shirtless. There is the odd use of mild language and while violence is more abundant than in Twilight, it is never harrowing enough considering the vampire and werewolf mythology.

While somewhat enjoyable, New Moon lacks identity and this is solely based on the fact that it does little to enhance the Twilight formula. Richer mythology is added; the quality of acting has increased in the overall cast; and the special effects have undergone a needed retuning. But like Edward so blandly points about himself, the film lacks a soul. The brewing romance between Bella and Edward is lifeless with a general lack of development throughout all the characters. Likewise, the narrative never really seems to head in any viable direction and it is up to the lesser characters to get the film's blood pumping.

Working with a mysterious organisation known as the Council, Saya (Ginanna Jun) is on a quest of vengeance to kill the most powerful demon in existence, Onigen (Koyuki). Saya's search leads her to a military base in Tokyo where she befriends Alice McKee (Allison Miller), a student whose persistence leads her to discover that demons are living amongst humans.

The narrative of Blood: The Last Vampire is an on-and-off affair. The initial setup is quite intriguing but the potential for a deep narrative sadly never materializes into anything tangible. The film does have a lot going for it, combining past segments with Saya's search for Onigen while factoring in political tension between the military and the Council. None of these elements go beyond the simple matter of establishment and the core reason for this is a weak script. By the film's end it becomes obvious that the script is undeveloped and the final running time of a mere 90 minutes becomes evident of this claim. The film needed to be longer by at least 30 minutes so as to allow the core elements of the story to be developed. Saya's past is glazed over, especially with one character that is pivotal to Saya's younger life being mentioned only to be dismissed as unimportant by the script a minute later. More back story would have only helped develop Saya as a character but as far as characterisation goes, the film gets the job done. The internal politics and the detective mystery nature of the film which are hinted at could have added wonders to the plot enhancing Saya relationships with other characters while trying to build mystery to the demonic forces at hand. Nevertheless the film does attempt some fleshing of the plot with the help of the character Alice McKee. The problem with this is that Alice works too much as this voice of reason, with two noticeable scenes where it is difficult to understand how she knew exactly what was going on or what to do. All-in-all, the narrative works well until the 3rd quarter of the film where events begin to enter the fray at random; it also doesn't help that the ending is on a weak note but the film, nevertheless, carries a unique enjoyment factor to it.

Acting is perhaps one of the better elements of the film. There is no award winning performances but the actors convey the emotion required of their characters. Jun is both brooding and lonely; Miller is spunky and afraid even though her scenes of enlightenment are somewhat stale; Koyuki has a stint of subtle evilness; while Cunningham is aptly suited as the cool headed lead investigator for the Council.

Disappointingly, and easily a nod to a low budget, is the very poor standard of computer graphics. The two main uses of this are when the demons turn into their true forms and when blood sprays during fighting sequences. The latter is forgivable since while the blood does not look genuine by any means it gives the film a stylized appeal. However, the CG for the demons is truly bad and almost unwarranted. The demons are lazily designed and considering that the adaption does not stick true to the source material, the demons could have easily been changed as well. Demons have three forms throughout the film: a human form; a demon form; and a semi-demon form which is easily more menacing and believable then the demon form itself.

In fact the fight scenes which involve the CG demons are easily the most poor of the lot: there is no vigour to them and they feel more like filler than anything else. However the remainder of the action is pretty well handled. The camera can be jerky at times but never to point where you'll be left wondering what happened. Unfortunately, the final action sequence is a let-down resulting in little in terms of raw action and the best action scene does not even involve Saya. In the end, the fighting in Blood: The Last Vampire is both part good and part bad and it is saddening that it does not remain at an adequate level of quality.

There is no sex or nudity to be found in the film, and language is used rather sparingly while including the odd blasphemous term. Nevertheless, the film sports quite a lot of violence and while it is never overly gory as some films in the same genre, it is still pretty violent. Violence includes some gunfire and sword fighting, with the latter including a collection of normal strikes, stabbings, beheading, decapitations and a character having is hands cut off. Most of these scenes include the spraying of blood though as mentioned earlier these are done in with stylised computer graphics.

Blood: The Last Vampire is a 90 minute film of an original 45 minute animation, and is easily 30 minutes too short. All the basics are covered, such as the acting, action and narrative but they are never explored with much depth or diligence. The acting is workable with a few sore spots; the action can be quite fun to watch when the director seems to care; and the narrative falls somewhat short after having many promising points for discussion. There is niche likability to the overall structure of the film which helps it chances, unfortunately this structure is lacking in substance resulting in a film which could easily have been so much more.

After over 20 years of keeping a mysterious alien race, referred to as Prawns, in check in an area known as District 9 in Johannesburg, South Africa, Wikus Van De Merwe (Sharlto Copley) is given the job of relocating the aliens away from the city so as to ensure that they pose no threat to the citizens of Johannesburg. But during a raid on one of the alien's shack, Wikus comes into contact with a substance that causes him to become the number one person of interest throughout the world.

District 9 is a remake of sorts of a short film from 2005 known as Alive in Joburg, and is filmed in two manners; the traditional film-making process and a documentary approach. The latter is mostly used for the first arc of the films narrative. It combines interviews and news reports, with documentary segments relating to Wikus and the relocation work he will be doing with the aliens. This film perspective is masterfully controlled by Neill Blomkamp and the integration of, and eventual change to, a more formalized camera work seems effortless and natural. This also provides the narrative with some added depth: instead of a linear exposition of Wikus and his reassessment of the whole situation, the audience is provided with history prior to the events taking place, even recalling vital information as to why the aliens are informally referred to as 'Prawns'. However the greatest strength of the narrative is how it parallels Apartheid. While the events in District 9 could relate to events such as the Holocaust, it is quite obvious that Apartheid is the core starting point of interest. This even goes as far as replicating the xenophobia which is strife within South Africa. For instance, replacing the African majority being subjugated against, are the technologically superior aliens. And even though the film is science-fiction, great strides have been taken to make the material as real as possible. These include the poor living conditions; an almost picture perfect representation of shacks through South Africa; and even finer details such as the African SWAT member calling Wikus by the term 'boss'. These are not just randomized stereotypes, but rather real life occurrences of South African living. This combined with the well structured story results in an entertaining and engaging narrative. However there are some points of interest which seem to get very little attention and any audience without an understanding of Apartheid might be feel something is amiss. For instance, the aliens who are clearly superior to humans seem to show little resistance to the poor conditions they are forced to live with. This may appear as a plot-hole, but essentially is only mimics how the White apartheid government were able to exert control over every other racial group, even when they were outnumbered nearly ten-to-one by the African population.

Continuing the believability of the South African context is the actors department, most notably Sharlto Copley who uses an incredibly authentic Afrikaans accent. Wikus is clearly a second language English speaker and Sharlto replicates this well, combining his characters need to speak English with instances of resorting to Afrikaans when swearing. Sharlto is only a first time actor in District 9, which is incredible to note considering how believable his acting is. Wikus goes from being a jerk to desperately fearful for his own life because of how the odds change against him. Regardless of how Wikus develops, Sharlto conveys his character with great realism. The remaining cast are all essentially secondary, and while they perform good jobs of keeping the level of acting high, they do at times falter a bit, but thankfully very rarely.

There is no nudity and sexual activities are only talked about and on a rare basis. Language is strong and consistent with a variety of expletives being used with the F-word uttered at least around 70 - 90 times. Most of these are spoken by Wikus and in Afrikaans, but considering how the F-word sounds similar in both Afrikaans and English, it is not difficult to know what is being said. The language is contextually fit though there is the odd scene where it does feel a bit too much or unnecessary. The intensity of violence matches that of the language with some fairly graphic scenes. Granted many of the deaths happen at a very quick pace but people are essentially vaporized into bloody matter or hacked apart, and this does not even account for the many instance of gunfights and psychosocial cruelty which takes place. Unlike the language at times, the violence is very fitting for contextual purposes in order to emphasis the brutality that existed during Apartheid and even in current day South Africa. South Africa is a violent country, and Neill Blomkamp does not shy away from this.

Both cinematography and the CGI are stunning. Neill Blomkamp is slightly experimental at times, such as filming from just above the barrel of a gun. He never does so frequently, but they surprisingly work. Another factor which is nicely executed are the action sequences which are viewable enough for the action to appreciated, but also slightly frantic to heighten the atmosphere. Accompanying this is some stellar CGI which blends into reality very well: the alien mother ship is the best example as it appears so natural while hovering over Johannesburg.

District 9 is being heralded as one of the best science fiction films to ever be showcased and its not difficult to understand why: it has a mature and exciting narrative, even if unclear at times, which brings about enough material to further the created universe in many directions. With a brilliant example of acting by Sharlto Copley, fascinating cinematography from Neill Blomkamp, high quality CGI, and engaging violence, District 9 is one of the most exciting films of recent years with only a few hitches. And as for this year, it easily relegates other recent blockbusters to the levels of mediocrity they deserve.

Jenny (Carey Mulligan) is a 16 year-old girl who is attempting to get into Oxford University and has high promise of doing so due to her exceptional intelligence. However, she feels that life is far too linear and she wishes to be able to express herself by listening to French music and going to the cinema and theatre whenever she can, but her parents forbid this for the most part. On a chance encounter Jenny meets David (Peter Sarsgaard), an older man who allows her the freedom to live life the way she wishes to do so.

An Education is adapted from the memoir of the British journalist Lynn Barber, and is a coming-of-age drama set in 1960's London. The story unfolds in a very standard fashion but it is the very core themes of the narrative which keep it engaging. The main theme of the film revolves around the importance of a rationalized living, such as getting a formal education and having the chance of being boxed into a typecast, versus living life to the full and having an existence on the foundation of enjoyment. The films is also evenly paced and while it is a fun and interesting watch, there is a slight mishap to the overall narrative structure which hinders the film greatly. While the film is set up by trying to understand how Jenny feels about her current life compared to the life she could have, the film does little to dwell on the realistic consequences of the actions made by many of the characters, especially Jenny. Any poor decisions she makes in her life are gazed across far too quickly, and those by other characters are none the better. It is a disheartening aspect to the story, and one which would have made the film more cohesive with it's message.

Nevertheless, there is not much else to criticize the film for. The acting, for instance, is superb with some natural performances. Most of the screen time is dominated by Mulligan and then Sarsgaard. While the chemistry between both never really works all the time, they are still appear amply suited. The rest of the cast all support these two and even the likes of the talented Emma Thompson and Alfred Molina never imbalance the fine equilibrium. Each character also comes across as unique. For example, where Mulligan's Jenny is rational and tries to act sophisticated, Rosamund Pike's Helen is ethereal and frivolous. These contrasts seem simple but they work in addressing the core concerns of the film.

Director Lone Scherfig does an amazing job with her creative vision of the script even though she does not create a unique cinematic experience. For the majority of the film, the camera work is understandably controlled, and helps to convey the characters as they ought to be. However, as if to aid the thematic notion of the film, when Jenny in introduced to a more a world of artistic expression, Scherfig is quick to make the camera work more loose and free, heightening the film's very premise of rationality versus emotion.

Beyond some implied sex and nudity, An Education contains little in terms of content with violence and language.

There is a charming simplicity to An Education which allows the narrative to unfold without any hindrance. The acting is great, the direction is just as good, and the story has some important messages to impart to audiences. Though as a coming-of-age story, An Education steers clear of trying to have an impact with its core themes, and ultimately suffers for convenience.

-(Durban International Film Festival 2009)

In the 17th Century, the Hungarian Countess Elizabeth Bathory (Julie Delpy) and her husband, General Ferenc Nadasdy (Jack Berglund), are regarded as one of the most powerful couples in Hungary. Soon after Nadasdy's death, Elizabeth begins a passionate relationship with Istvan Thurzo (Daniel Bruhl), who is nearly 20 years her junior. When Istvan leaves her, she believes it is because of her age. This ultimately leads to her believing that the blood of virgin girls can help her remain youthful, and Elizabeth starts a mysterious killing spree to satisfy her vanity.

The issue surrounding Elizabeth Bathory makes for an interesting narrative in the cinematic format. The story is told in a rather linear fashion, beginning with Elizabeth as a child and how politics deemed who she should marry in her older age. Politics is perhaps the best dealt with theme in the film: while not shown in a refreshing manner, politics still has an overriding importance into understanding how arranged marriages were so important for families in regards to gaining new ties and allies and, more importantly, how these marriages ultimately develop characters in order to enrich the story. Yet it is disappointing that nothing helps strengthen the plot: the life of Elizabeth Bathory is open to much speculation with there being a debate as to whether she really is the 'Blood Countess' or whether she was trapped in a political conspiracy. But none of this is even questioned until the very end of the story, but by then it is so incredibly obvious that the filmmakers have wanted to portray Elizabeth as a cold-hearted murderer, that the alternate paradigm briefly introduced serves little purpose. Another problem with the narrative is how the film's underlying philosophy, as emphasized by a voice over from Istvan at the very start of the film, is in conflict with the film's main story. Istvan believes that the true story of Elizabeth was never revealed but as shown from the films intention, it clearly is.

There is a reasonably strong cast in the film but it never shows. Both Delpy and Bruhl lack emotion and their portrayed relationship is not any better. In Delpy's defence it can be argued that her character lacked any real emotion but nevertheless, there is nothing really compelling about the performance. William Hurt features at points throughout the film but he rarely makes much of an impact. The best of the lot is Annamaria Marcina who feels more believable then her co-stars, and does a good job as a supporting actress.

Julie Delpy does shine in her role as director with the film being, for the most part, eloquently shot. There are some interesting scenes of symbolism with the heightened ominous atmosphere of the film starting off early and is carried along until the end. Considering the subject matter, the film is neither as gory or bloody as you would expect, but the acts of cruelness still have a haunting presence to them, and Delpy must be congratulated for this. Likewise the musical score appears to compliment the film though is forgettable by the end, and the costume design has a real sense of reality to them though they lack extravagance as shown in other similar period films.

Sex is implied with upper female nudity appearing at times in the first half of the narrative. Language is almost unheard of but violence is shown in various manners: there is some decapitation, and piercing of skin from sharp items. None of the violence is lingered upon but their buildup has a threatening quality to them; blood does appear throughout.

The Countess is a surprisingly average film with a good sense of technical techniques being weighed down by some weak showcases of acting and a confused directional narrative. The beginning attempts to setup the film as a mystery thriller, something to get audiences debating the accuracy of events, but ultimately the film is so conclusive with what it wants audiences to believe that the film gets muddled up in its own creative process. It is an interesting movie with an exciting subject at its helm, but it is nonetheless a flawed film that just never gets going.

-(Durban International Film Festival 2009)