Review: The Hobbit - An Unexpected Journey

Review: The Hobbit - An Unexpected Journey

It's been nine years since the fantasy world of Middle Earth graced our cinema screens with the epic conclusion of The Lord of the Rings trilogy, The Return of the King. Now in 2012, we finally have the opening movie of what some have referred to as this franchise's "prequel trilogy": The Hobbit. 

Luckily for the hardcore fans of The Lord of the Rings, there are references and cameos aplenty from the original motion pictures. From the fantastic Andy Serkis reprising his role as the iconic Gollum to Elijah Wood's Frodo showing face for nostalgia's sake, it's clear to see that this movie was produced with the fans in mind. That said, anyone completely new to the series will not be lost, as the fresh tale of Bilbo Baggins and his unexpected adventures is a whirlwind of fun, colour and unbelievably exciting storytelling in its own right. 

Peter Jackson, the man known around the world for bringing The Lord of the Rings on to the big screen to ear-shattering acclaim, makes a few errors and slip ups here and there in the first of his adaptations of Tolkein's beloved children's tale, but overall they don't detract from the excitement and breathless sense of adventure in The Hobbit: An Unexpected Journey. 

From the very beginning, as some of the major musical themes from The Lord of the Rings reach our ears, we are slap-bang back into Middle Earth as though we have never left. We approach the vast narrative via its mythic setup: the terrifying dragon Smaug (seen only in teasing glimpses here) annihilates the Dwarven kingdom of Erebor. The older Hobbit, played once again by Ian Holm, is then presented to us, before we flash back in time to meet our unlikely hero at an earlier time in his quiet, peaceful life. Martin Freeman is pitch perfect as Bilbo, the quiet titular character who is contacted by the instantly recognisable wizard Gandalf the Grey - and it's nothing short of awesome to see Ian Mckellen back in the role, bringing a sparkle of fun and wit with every subtle grin and eyebrow raise. Gandalf has a quest for Bilbo, and before long the unassuming Hobbit is caught up in a Dwarven mission to take back Erebor and outsmart Smaug. Finding his courage, Bilbo fights orcs, outsmarts mountain trolls and visits locations in Middle Earth he never even dreamed of - but ultimately one chance encounter in Gollum's cave alters his life and has the potential to change the world forever as he stumbles upon a seemingly meaningless golden ring...

The plot is simple enough, however at 169 minutes there is enough padding in The Hobbit to ensure the entire backstory of Lord of the Rings is covered and then some. Thanks to cameos from Christopher Lee's sinister Saruman and Cate Blanchett's Galadriel, we become aware that a "Necromancer" is in hiding in dark lands. Of course, fans of the book will know that this "Necromancer" is a weaker form of Sauron himself, the chief antagonist of The Lord of the Rings; it's a clever trick on Peter Jackson's part to reward fans this way, however this could be potentially alienating for those new to the world of Middle-Earth.

On to The Hobbit, however. There is no doubt at all that it's a long slog, and there are times when it seems overstuffed and out of balance. At least all the scenes in the theatrical cuts of The Lord of the Rings felt essential to the primary narrative; here there are added characters, deviating from the book (a good example is Radagast The Brown, a slightly loopy wizard who notices evil rising in the forests) and occasionally throwing in characters from the original trilogy unnecessarily. Elijah Wood's appearance as Frodo is not essential, as nice as it is, and there is a sense that Jackson himself was on something of a nostalgia trip when recruiting all his old chums to make cameos.

These cameos unfortunately overshadow what is already a very big cast of very big characters. The thirteen Dwarves whom Bilbo chooses to follow are often given a hard time; only three or four really stand out from the crowd of beards - some barely get any dialogue at all. It was inevitable that with a fellowship of fifteen characters - those being the Dwarves, Gandalf and Bilbo - that some would be left in the lurch and unfortunately that inevitability is realised. That said, a superb performance from Richard Armitage as Thorin, the leader of the company, more than makes up for the lack of distinctive personality from his troops. He is this trilogy's Aragorn, a man (dwarf) hardened by war and loss, and his belief that Bilbo is not fit for such a mission creates some exciting interaction.

It's this form of interaction that gives the film its heart - Martin Freeman's acting is spot on, and although it ocassionally feels as though Bilbo is given a back seat in the narrative thanks to Gandalf's little side-quests, his understated performance shows us exactly why Peter Jackson decided to work around Freeman's schedule to ensure he got the part. Just when it feels like Bilbo isn't getting anywhere positive and he has given up on the quest, a fantastic piece of character drama occurs when he falls into Gollum's cave. Andy Serkis is once again superb as the spiteful Hobbit-turned-creature; Gollum may look a little younger and act a lot more evil, but before long it feels as though he's never been off our screens. The iconic riddle scene, in which Bilbo bargains for his life in a game of wits with Gollum, is played out brilliantly and provides an excellent break from the relentless chase scenes before it, giving Freeman a chance to flex his acting muscles opposite Serkis's hectic and manic motion-captured display of insanity.

Aside from this, though, as soon as Bilbo departs The Shire the action ramps up considerably. While this is an exciting display of visual effects, fans will be very disappointed to find that Jackson has redesigned many of his iconic monsters. Orcs are now completely CGI; not the menacing, towering stuntmen that provided such real threat and menace in The Lord of the Rings. This is a poor decision on Jackon's part, as is the sudden choice to have the Orcs speak in their own tongue with subtitles. This only alienates us further, and unfortunately provides inconsistencies in the overall story - in his quest to draw us further into his vision, Peter Jackson has sadly pushed us further away. 

Luckily though, pure old fashioned excitement comes from gargantuan battle sequences. From the breathless scene in which the company flee from wolves to an astonishing display of effects when the fellowship watches two stone giants attack each other, The Hobbit never fails to make a jaw drop. It simply looks fantastic, and in a rare case for the format, the film looks absolutely stunning in 3D. Aerial shots of barren landscapes soar out of the screen and mythical creatures come to life gloriously - appropriately given its happier tone, The Hobbit is much more colourful and vibrant than Lord of the Rings, and Jackson has done brilliantly making the same world seem so new and exciting.

Summary

It's been a long time coming and luckily The Hobbit: An Unexpected Journey is worth the wait with exceptionally committed performances from the cast, in particular Martin Freeman's emphatic Bilbo and Richard Armitage's battle-hardened Thorin. Occasionally overwhelming cameos from Lord of the Rings characters threaten to steal the spotlight from the main narrative, however The Hobbit never completely slips off the rails. From nail-biting chase scenes to superb character interaction, the thrill-ride doesn't let up and it certainly doesn't let go of its message, one which Bilbo himself discovers - that getting off your arse and breaking the norm isn't necessarily a bad thing. Peter Jackson does make rather a lot of errors here and there, such as some alienating CGI and a lack of character development for some of the supporting cast, but overall The Hobbit: An Unexpected Journey is nothing short of superb for previous fans of The Lord of the Rings and for newcomers to this fantasy world.

Middle Earth? It's good to be back.

9/10 - Brilliant

See it if you liked: The Lord of the Rings (2001-2003), The Wizard of Oz (1939), Brave (2012)

The Hobbit: The Desolation of Smaug will be released in December 2013.

The Hobbit: There and Back Again will be released in July 2014.

Review: Great Expectations

Review: Great Expectations

Classic adaptations are hard riffs to pull off in this modern cinematic age of Transformers, Avengers and Channing Tatums, however director Mike Newell has certainly given his best shot at a new adaptation of Charles Dickens' arguably most famous novel Great Expectations.

An unfortunate case of been-there, done-that lingers amongst the old fashioned atmosphere, but strong, thoughtful performances and an absorbing sense of drama and intrigue save Great Expectations from complete boredom. For those who have already read the novel or witnessed a previous interpretation of the story, this version will fail to impress. That said, others who are new to the narrative will feel very satisfied with the big screen vision even if they'll no doubt experience a vast amount of confusion due to some unnecessarily speedy storytelling. 

That storytelling involves Pip, a young orphan who falls in love with Estella, a rich girl under the care of Miss Havisham, an ageing woman who has refused to take off her wedding dress since her fiancée left her. Years later, Pip has become a successful blacksmith with his brother-in-law, however he knows Miss Havisham will not allow him to be with Estella unless he becomes a "true gentleman". When a lawyer, Mr Jaggers, approaches him and tells him a "wealthy benefactor" has left him a large sum of money to allow him to do this, Pip sets off for London immediately in the hopes of breaking through Estella's ice cold heart and proving he can be enough of a gentleman to be hers. Meanwhile, the identity of the benefactor remains unknown; a secret which haunts Pip with potentially devastating consequences.

While the story is one of Dickens' most adored literary works, it often feels clunky to watch on screen in this particular retelling. At times it often feels as though Newell has "David Yates syndrome", in that he has taken a novel and has simply ensured the major scenes are shoved in. This leads to an incoherent narrative, which is incredibly frustrating for both fans of the novel and those who wish to understand every detail of the film; one could even assume that Newell is under the assumption that anyone watching the movie has already read the book, such is the lack of organisation in his storytelling. 

Flashbacks are under-used, as instead names are thrown around hastily by Ralph Fiennes' Magwitch and Robbie Coltrane's Jaggers in mid-conversation to deliver incredibly important plot points. It's hard work keeping up with Great Expectations in the clearest of adaptations, but Newell has made it damn near impossible in his vision. Anyone who can work out Magwitch's complex backstory from the hurried, incoherent mumblings and half-arsed dialogue deserves a medal.

There's also a need for the film to justify itself. There have been so many adaptations before now - why do we need a new one? Newell fails to bring anything new to the table.

Yet, where he fails, the cast succeed. Despite the inconsistent quality of the storytelling, the performances are incredibly strong. Ralph Fiennes and Helena Bonham Carter are excellent as always, giving a sense of sympathy to characters who are perhaps undeserving of such forgiveness. Yet the stars, Jeremy Irvine as Pip and Holliday Grainger as Estella, refuse to be outshone and do brilliant justice to unforgettable fictional characters. They turn what could have been an overly classy, dull affair into a much more humane, fine experience of love and manipulation. Jason Flemyng, David Walliams and Robbie Coltrane are also superb additions to the cast, adding a mixture of comedy, empathy and mystery to the performances. 

As well as this, Great Expectations succeeds in becoming a true character drama. We are very engrossed in Pip's tale, from his first encounter with the initially terrifying Magwitch to the gripping finale on board an ill-fated boat. We genuinely care about the characters and are shocked by every twist and turn. The movie is absorbingly authentic, and in a cinema we can ask no more than that.

Summary

Put simply, lovers of the classic Dickens novel will be incredibly disappointed by Mike Newell's adaptation for 2012 due to a lack of focus. Those new to the story, however, will no doubt enjoy the tale for the first time even if they may struggle to keep up with the messy plot. Fantastic performances from the major cast make the film shine with plenty of distinguished personality and charm, and Jeremy Irvine should certainly experience a major breakthrough after this very fine display of talent. Absorbing, intriguing and affecting, Great Expectations is a decent drama full of brilliant characters and, despite its lack of a coherent narrative, it succeeds in pulling us in to its irresistible tale of love, manipulation and mystery. Just lower your expectations first. 

7/10 - Very Good

See it if you liked: One Day (2011), Pride and Prejudice (2005), Dorian Gray (2009)

Review: Silver Linings Playbook

Review: Silver Linings Playbook

Bradley Cooper and Jennifer Lawrence take centre stage in Silver Linings Playbook, a feature which boasts some excellent performances and ideas but also suffers from a lack of focus, too many headache inducing confrontations and a predictable storyline. 

This isn't necessarily a bad thing depending on how one likes their romantic "dramadies", however there are only so many close ups of Bradley Cooper crying and shouting at Robert De Niro the average cinema-goer can take. 

Still, Silver Linings Playbook is an enjoyable movie which takes a look at the determination of the human spirit in times of doubt as well as how much new love can shape the future. Cooper plays Pat Solitano, a bipolar sufferer fresh out of a state institution he'd been banged up in for eight and a half months after almost killing a man having an affair with his wife. Moving back into his dysfunctional home with his father, a brilliantly compassionate Robert De Niro, and his mother, Jacki Weaver, Pat finds that rebuilding life isn't so easy when the world seems to consistently push him back down again. His social filter is, as he says "clogged," so even the simplest conversation can turn inappropriate against his intentions. 

Luckily for him, he is helped by an assortment of your average "cooky" characters, such as a well-meaning Indian psychiatrist, Chris Tucker's colourful Danny and a difficult but delightful Jennifer Lawrence as Tiffany, a recently widowed young woman with even poorer social skills than Pat himself. However, she gives him a way to get out of his rut and he soon finds himself attempting to overcome the obstacles associated with a new relationship.

At certain points, Silver Linings Playbook grates with its constantly audience-integrating elements; for example, the amount of times Pat says he is looking for a "silver lining", the overuse of Robert De Niro's supposedly endearing OCD and the apparent realism of everybody in the room yelling at each other at the same time. The film is a mess on occasion, losing its aim as we are confusingly juggled between Pat and Tiffany. 

Yet, Playbook has some balls and it isn't afraid to show 'em. Some scenes are shockingly played out, such as when Pat accidentally strikes his mother during one of his episodes and when his father repeatedly labels him a "good for nothing loser". Looking on the bright side though (one of the film's many life lessons), Cooper and Lawrence generate fantastic chemistry, making both of their characters surprisingly enjoyable to watch despite their many alienating problems. Their comedic moments are played with plenty of charm, but when they dip into their darker sides we see some true acting talent shine out, saving Playbook from being a witless, less emphatic affair.

Summary

Part dysfunctional family drama, part romantic comedy, Silver Linings Playbook is another point on the scoreboards of both Bradley Cooper and Jennifer Lawrence. Their superb performances give the movie its relatable edge, whilst able support comes from Robert De Niro and Chris Tucker. At times the film fails to entertain, particularly during sequences in which we are being forced to feel sympathy for characters whose problems are self inflicted, as well as those messy migraine makers involving rooms crowded full of people shouting at each other. Despite this, though, Silver Linings Playbook remains an evenly balanced, if predictable, mix of romance and comedy which should please both genders in equal measure. 

6/10 - Pretty Good

See it if you liked: One Day (2011), Adventureland (2009), Eternal Sunshine Of The Spotless Mind (2004)

Review: End of Watch

Review: End of Watch

Let's be honest, the whole "found footage" storytelling is becoming a tired affair. Generic horror flicks like

Paranormal Activity have made cheesy what used to be a very exciting method of film-making, and audiences as a whole are becoming sick of the narrative device invading almost every genre of movie.

Enter End of Watch.

By not making the camcorder the focus of the film, director David Ayer, whose previous work includes the very unsympathetic Training Day, ensures that the superb performances from Jake Gyllenhaal and Michael Pena take centre stage in what can only be described as both a love letter to the police force and the best cop/crime movie of recent years. 

End of Watch - which takes its name from the phrase coined by the LAPD as they sign off their shifts - follows the story of Brian (Gyllenhaal) and Mike (Pena), two cops situated in South Central Los Angeles, a place where gangs, drug lords and prostitution rule the streets. Hot on the tails of one gang in particular, the two cops find themselves in deep water when they are targeted by the cartel and we watch as the partners cope with their increasingly dangerous patrols.

Sure, the combo of Gyllenhaal's wise-cracking, cocky, over-confident Brian paired up with Pena's hesitant, sensitive and by-the-book Mike seems like something lifted straight from the book of movie stereotypes, but the chemistry between the two leads could not be more natural. Gyllenhaal offers a career-defining performance, proving that the increasingly diverse actor has clearly gone from strength to strength since his Donnie Darko days (we do not discuss Prince of Persia under any circumstances). His commitment to the role (participating in ride alongs with real police officers for 12 hours a day) is incredibly evident, and his no-nonsense attitude to the criminals infecting his streets hits the screen hard. Pena, however, refuses to be overshadowed and the actor throws himself into the role of Mike with such macho gusto it's hard to believe he didn't used to be in the force himself. Some very able support also comes from Ugly Betty's America Ferrera and rising star Anna Kendrick, who proves herself very capable of breaking out from the potentially career-destroying chains of The Twilight Saga.

Don't worry, though - this isn't a simple buddy movie. This is a full on account of war on the streets. From the intense opening skirmish with a local drug dealer all the way to the film's heart pounding climax which sees our heroes cornered by the cartel, End of Watch is a relentless, pulsing thrill ride. There are short breaks to address the changes in the partners' lives, such as Brian's marriage and Mike's newborn child, but David Ayer knows as much as we do that filthy streets like these don't rest for anyone.

Yet this makes it all the more frustrating when it comes to the camcorder aspect. For a short while at the start of the movie, End of Watch takes the form of Brian's personal log in which he records his day to day life in the force as an experiment for himself. Later, however, this is completely ditched and there is no explanation as to what happened to the tape, why Brian is no longer filming and who is holding the camera now. The inconsistency with the narrative's format is the film's let down; as is the severe case of over-acting by the antagonists. Sure, this is supposed to be a true to life account of law enforcement, but the cartel are a bore to watch as we occasionally witness events from their perspective. The performances are incredibly forced and often severely over the top, a factor which doesn't help a film so grounded in reality.

That doesn't stop End of Watch from being a joy to experience, however, and fine acting from the lead roles help to anchor us down in to what could have been a very alienating movie.

Summary

Once you get past the inconsistent narrative technique, End of Watch is nothing short of a triumph both for the cop movie genre and for the lead actors. Jake Gyllenhaal is Oscar-worthy as Brian, and the relatively unknown Michael Pena has just ensured mainstream success as Mike; both actors gives performances that are true to life and fully committed, while director David Ayer ensures that there is more than enough action and suspense to keep the movie ticking over nicely. Yet what's surprising about End of Watch is that a director whose previous films represented a tarnished view of the police force could be equally as sentimental and appreciative towards the same demographic.

Thrilling, absorbing and downright ballsy, End of Watch is simply the best cop movie of the last ten years and one of the best action movies of 2012.

8/10 - Great

See it if you liked: Public Enemies (2009), Crash (2004), Lethal Weapon (1987)

Review: Argo

Review: Argo

Ben Affleck leaves his comfort zone of 'The Town' to direct an astonishing true story set during the height of American-Iranian tension in the early 80's. 

Part comedy, part tense drama, Argo tells the tale of six American US Embassy employees in hiding in Iran after the building is overrun by hostile Iranian revolutionaries. Taking refuge in the Canadian ambassador's house, their only hope for escape from a country declaring "death to Americans" is CIA exfiltrator Tony Mendez (Affleck). His plan? To fly into Iran with fake IDs and convince the country that the six Americans are actually part of a Canadian film crew scouting locations for Argo, a Star Wars inspired space movie. Then comes the hard part: getting them out.

The scheme is initially ridiculed, however it soon becomes clear that this is the only viable option which could avoid international catastrophe. Before long, Mendez and his team are duping Hollywood, even hiring directors, actors and screenwriters in order to convince both America and Iran that Argo is a real movie currently going through pre-production.

For all the hype that this is a "tense, gripping, edge of your seat drama," Argo disappoints on most fronts. However, as an almost satirical look at the movie industry and an accurate documentation of a declassified CIA operation, Ben Affleck's latest is a stellar hit. His true success is combining multiple story strands into one easily conceivable movie. In Washington, Affleck executes his camerawork with modern flair, yet the scenes in Iran have a grainy, atmospheric feel reflecting the horrific sense of oppression in the country. The actor/director also shows a knack for creating palm-sweating tension, however the vast majority of it is a little weak as we are consistently in no doubt that the Americans will make it out alive.

In Hollywood, however, the movie becomes a slick sattire of the film industry. John Goodman's special effects genius and Alan Arkin's tough as nails producer bounce brilliantly off each other, as Goodman proclaims of his make believe production "The target audience are gonna hate it. And by target audience I mean anyone with eyes." Bryan Cranston is also a welcome addition to the cast as Jack O'Donnell, Mendez's CIA colleague directing the mission.

Argo does have its faults though. Scenes involving Affleck's sci-fi loving son seem to be wedged in simply to add some unnecessary emotional weight behind his character; weight which drops very quickly as the boy is never in any danger and is barely seen again. Add to that a severe lack of character development regarding the six Embassy employees and, with the exception of Affleck and his CIA cohorts, Argo is left with very unrelateable, unlikable protagonists. 

Summary

Argo is yet another triumph for Ben Affleck, the performer who faced critical hostility after some very subpar acting roles. However, combining laughs and thrills with plenty of exciting verve, Affleck continues his very smart directing career with a gripping, often satirical drama. It's not flawless, as shown by some overly scripted unnecessary characters who steal time from the characters we are really supposed to care about. That said, Argo is a very exciting development for Affleck and certainly one of the best dramas 2012 has to offer.

8/10 - Great

See it if you liked: The Town (2010), The Taking of Pelham 123 (2009), Inside Man (2006)

Review: Breaking Dawn Part 2

Review: Breaking Dawn Part 2

The ultimate saga for the ultimate teenage girl has finally come to a close. After "epic" (their words, not mine) battles of love, loss and unexpected pregnancies, the story of fiction's most uninspiring protagonist Bella Swan reaches its conclusion.

For all its shirtless pointlessness, one has to admit that the Twilight Saga has had a significant cultural impact. Not quite as accessible as the Harry Potter series yet a little more easy for the audience to swallow than The Hunger Games, every movie has seen a growth in popularity and reception, resonating a huge hit in the movie industry. So does the final instalment in a franchise based on 'undying love as long as my partner is good looking' give the series an explosive send off or a wolf's whimper?

The result is a mixed bag. While there is a lot to be admired, such as the three young leads finally coming into their own as the series' heroes, it has to be said that Breaking Dawn Part 2 has far too much filler and not enough killer. Interestingly, in a very ballsy move, the film strays rather far from the book, throwing in an absolutely brilliant climax to rival that of even the Harry Potter series. Frustratingly, so very very depressingly, the movie then decides that it doesn't quite have the bravery to deviate from the text too much and leaves us with a feeling that the concluding chapter in the Twilight story could have been so much more had it fulfilled its promise of an 'epic finale'.

So, what's it all about?



After an artistically impressive black and white opening sequence, we are thrown back into the dire situation of Bella Swan. Just incase you forgot, or fell asleep, Part 1 left Bella's life hanging in the balance due to her half-vampire child clawing its way out of her body. Having now been converted to a vampire in order to preserve her life, Bella wastes no time and immediately sets out honing her new skills which include taking down tigers and protecting her loved ones with a force field. Meanwhile, however, the Volturi (a fancy name for the evil vampire police) discover the existence of Renesmee, Bella and Edward's half-human half-vampire daughter, and set out to ensure the apparent threat to the vampire way of life is stamped out.

Cue a frantic tour of the world, and the expenditure of the entire budget on colourful contact lenses, as the Cullens attempt to round up a gang of 'good' vampires to aid them in defence of Renesmee and her parents, culminating in an absolutely fantastic climactic fight upon a snowy battlefield.

There are too many laugh-out-loud, can't-take-them-seriously moments to count, such as Edward's apparently sweet declaration that he and Bella 'are the same temperature now' following her conversion.   How romantic. Yet another eye-roll inducing scene rears its ugly head as Jacob inexplicably strips to his boxers in front of Bella's father in order to show off his animalistic alter ego - a clear sign that, as much as The Twilight Saga might think it has come of age in this dramatic cinematic time, it's still an immature little kid showing off its shiny features for attention.

Also thrown into that mix are yet more awkward sex scenes between Edward and Bella, but the scenes are performed with such generic "passion" that it's tough to feel anything more than a cringe. The vast majority of the film's 2 hour running time is also taken up with dull conversations between vampires who haven't seen each other in a while. Whereas beforehand Bella was our eyes and ears into this new world of vampires and werewolves we have no human to relate to this time,  leaving us feeling like outsiders in a party we weren't invited to.



Yet, here's the kicker. Breaking Dawn Part Two is actually really enjoyable when it comes to its action. While there is no standout moment until the climactic battle, the final 20 minutes save the film. Fans of the movies so far will no doubt enjoy each and every moment, but for those of us dragged along by our other halves, our salvation lies in the fantastic sequence in which the Volturi declare war on the Cullens. The earth is shattered, heads will roll and major deviations from the book mean that no character is safe. While the book's conclusion saw nothing but a mild conversation between the Cullens and the Volturi, director Bill Condon ensures that we get much more candy for the eyes this time around.

Just...beware of the twist. It's horrendous.

As for the acting, the three leads finally manage to impress. Kristen Stewart seems to have been saving her 'I can really act!' performance for this final helping, as Bella's character arc reaches its conclusion. Stewart brushes aside her male cohorts to claim the crown of the franchise, proving that, despite Bella's tendency to be a weak protagonist, she can be a strong lead. As for Taylor Lautner, his appearance on screen is not quite as irritating as the previous instalments, yet perhaps this is due to Jacob's happy ending. His character does not spend most of his screen time moaning that Bella is not his, instead actually providing some bad-ass assistance as his wolfish self.

Robert Pattinson has already proved his worth in other works such as Water For Elephants and the excellent Cosmopolis. While his acting is and has been decent in the Twilight Saga, it's clear that R-Patz is destined for much bigger and better things.

Michael Sheen and Dakota Fanning also provide impressive support as the cannibalistic leaders of the Volturi. Sheen is clearly enjoying himself in the slightly farcical role; comparisons with Ralph Fiennes as Lord Voldemort are very well deserved as he unpredictably swoons around the Cullens, taunting them and providing a real sense of unstable menace. Fanning, meanwhile, is a genuinely maddening presence, her character filling us with hatred and loathing - always the sign of an actor's job well done as an antagonist.

Yet still, all of the best acting and CGI battles in the world can't detract from what feels like a false, stunted ending to a franchise which had at least been consistent in its storytelling thus far.

Summary

It's sad to say that Breaking Dawn Part Two had the opportunity to be so much more. It's tough to elaborate on this any further without giving away spoilers, but it's enough to say that some movie goers will be infuriated by the movie's make-or-break twist ending. At its purest, however, this is Twilight for the fans. Those filled with nothing but contempt for the rather shallow franchise are unlikely to be converted this time around, however fans of The Twilight Saga from day one will certainly leave feeling satisfied. From a cinematic point of view, the film impresses with its visuals, the major protagonists' surprisingly authentic acting talent and a genuinely thrilling climax. It's a decent, not brilliant, send off for a series full of decent moments at best.

So it's with a not-so-heavy heart that blokes bid goodbye to The Twilight Saga and girls tearfully wave goodbye to Taylor Lautner's chest - yet, with rumours of a spin-off movie and TV shows abound, it has to be pondered whether this potentially immortal franchise is really dead after all.

5/10 - Mediocre

See it if you liked: Harry Potter and the Deathly Hallows (2011), Red Riding Hood (2011), Snow White and the Hunstman (2012)

Review: Skyfall

Review: Skyfall

"You know the rules of the game now. You've been playing it long enough."

M's careful statement to Daniel Craig's ever-improving Bond at the start of the movie sums up the James Bond series so far as Skyfall marks the 50th Anniversary of the character and the 23rd Bond movie in total. Such an occasion for such an iconic character should be marked with a movie that struts majestically forward in style whilst also glancing over its shoulder to the past, and Skyfall delivers in waves.

Yet what makes Skyfall such an excellent definition of a Bond movie is not the quirky gadgets, the larger-than-life villain or the relentless action scenes. It is the connection between old Jimmy and Judi Dench's M, one that has been a staple of the series for many years. The humanising of 007 himself is a feature that the franchise has long been missing, as Bond finally transforms from a savvy, generic super-slick spy to a man with a deep connection to his country and the people around him.

The film opens with an astounding chase sequence through the streets of Istanbul, as Bond chases down an enemy who holds data on every agent in the secret service. However, the mission fails and Bond ends up missing presumed dead. While he is "enjoying death" in a remote part of the world, the identities of several secret agents are revealed to an unknown villain who appears to have a connection to M's past. When the MI6 building is hit by a terrorist attack and M's life is put in danger, Bond returns to London and, equipped with trademark gadgets and fast cars, gets hot on the heels of the mysterious baddie. Yet, as he becomes more desperate and more lives are lost, he finds that his loyalty to M may not be as indestructible as he thought.

It's a premise that one can't imagine acting as a synopsis for one of Pierce Brosnan's over the top 90s Bond outings, and especially not Roger Moore's stereotypically wacky adventures as the spy, yet Skyfall's story is the most absorbing James Bond tale yet. From the opening scenes in which he and his "Bond-girl" Eve unintentionally destroy half of Istanbul in an exhilirating chase sequence, Daniel Craig's interpretation of the agent clicks into place almost immediately and we finally get a good look at the human behind the gun. Craig is on fine form, delivering his lines with a grim sense of brutality when required. His refusal to accept that there may be no place for a man like Bond in this modern world where computers are capable of bringing down entire companies is a refreshing twist for the character, and behind Craig's confident, suave eyes lie a deep emptiness within 007; one that possibly explains his need to flirt with death so compulsively. 

Yet Judi Dench threatens to steal the show as M. Skyfall marks her 7th appearance as Bond's superior, and her performance is superb as a woman coming to terms with the fact that the agents she sends on perilous missions are real men with real lives - lives that are in her hands. Ralph Fiennes and Ben Wishaw are excellent additions to the cast as Mallory, M's superior, and Q respectively. There is an excellent nod to previous Bond flicks as Q offers the spy a new gun which only he can fire, as well as a tiny radio which can send out a distress signal. "Not exactly Christmas is it?" scoffs Bond. "What were you expecting, an exploding pen?" smirks Q. "We don't really go for that anymore."

Of course, 007 isn't 007 without a memorable villain, and Javier Bardem provides an astounding performance as Raoul Silva. I can pay him no greater compliment than to compare his performance to that of Heath Ledger as The Joker; there is a madness behind his methods. He seems to block 007 at every turn and whenever we are sure our hero has the upper hand, Bond is knocked back down again. This pushes the theme of Skyfall further as we know that Bond isn't invincible and neither are the people around him.

The geographical scale of the film is excellent also, as for the first half we are transported around the globe from the remote corner of the world where Bond hides away, back to London, then off to Shanghai for some glorious fieldwork. Yet for the latter half of the film, we stay put in Britain, from the centre of London all the way to the Scottish highlands; a glorious sentiment to the British history of the Bond movies, and it's fantastic to see such a momentous display of action packed espionage take place right here at home.

Unfortunately however, Skyfall loses its edge when it comes to the girls. It seems to be a 'token' element of every movie that there be a Bond-girl, yet this particular entry doesn't need one. Eve is a witty character, yet it seems as though her back story is not fleshed out, she does not interact with anyone except Bond himself and she simply pops up whenever required with no real explanation.

The pacing is also an issue too, as at 142 minutes Skyfall certainly feels like a long movie. Still, this is the 50th anniversary of a majorly iconic character so we can forgive the team for enjoying a little self indulgence. This is one for the fans, and true followers of the Bond franchise will surely be very grateful for the lengthy running time.

The modern James Bond movies have always contained a feature to be admired; where the vast majority of films these days prefer to show off their flashy title card over a few seconds, Skyfall continues the tradition of playing the always-excellent Bond songs (in this case Adele's sultry Skyfall number) over brilliantly produced title sequences. As always, this review is spoiler-free but it's enough to say you will be blown away by the artistically superb scenes.

Summary

Director Sam Mendes had a momentous task on his hands when he took the reins of Bond's 23rd cinematic outing, but that hasn't stopped him delivering an outstanding feat of cinematic greatness coupled with a few nods of nostalgia. Thanks to some superb action sequences, a story which finally delves deeper into the characters and some Oscar-worthy performances from Daniel Craig and the rest of the cast, Skyfall isn't simply one of the best movies of 2012 - it's the best James Bond yet.

9/10 - Brilliant

See it if you liked: Casino Royale (2006), Taken (2008), Mission Impossible: Ghost Protocol (2011)

Review: Paranormal Activity 4

Review: Paranormal Activity 4

Another Halloween means another instalment in the Paranormal Activity franchise. Last year, after the slightly disappointing Paranormal Activity 3, the cash cow series was accused of having its udders rubbed until red raw due to a disappointing film with a very lacklustre send off. 

So is Paranormal Activity 4 an exciting return to form for the home-video horror, or is it yet another example of a sequel nobody wanted?

The result is a mixed bag. The film has a lot of fun teasing its audience to the point where the tension has us on the edge of our seats, however when the tease is revealed to be nothing particularly exciting, original or even scary, Paranormal Activity 4 leaves a bitter feeling that we should have been given more.

For those who may have forgotten, Paranormal Activity 2 left off with the possessed Katie killing her older sister and stealing her baby, Hunter. Sprint forward a few years and we are introduced to Alice, a 15 year old girl with a little brother, Wyatt, and parents who seem to be hovering on the brink of divorce. One day, a single mother and her child, Robbie, move in to the house across the street and (apparently) the mother takes ill and Robbie has to stay with Alice's family for a few days. 

Needless to say, strange occurrences begin terrorizing the household as soon as Robbie steps foot in the door, and Alice becomes convinced that something - or someone - has begun creating some, er, paranormal activity with some fatal consequences.

There's really no need to delve further into the plot; it's enough to say that Alice has a sort-of boyfriend named Ben, who comes up the nifty idea of using the laptops within the house to constantly record what anyone may be up to. Another really cool addition to the narrative technique is the use of an Xbox 360's Kinect machine, which, when viewed through a video camera, bathes the room in an eerie green glow. 

Also in the movie's favour is the fact that the acting is fantastic, as Alice and Ben are surprisingly likeable protagonists despite their immaturity. They are actually convincing teens rather than adults pretending to be youthful, while the child actors playing Wyatt and Robbie are fantastically creepy. It is clear that Robbie is disturbed from the first moment we see him, and as the film progresses his sinister dialogue is delivered with a sense of dread. "Why doesn't he like me?" asks Ben, when Robbie confesses his unseen friend does not hold any fondness for him. "You'll see," replies Robbie, sending a shiver down our spines. 

Katie Featherston is also on top form as usual as the possessed antagonist, Katie. Her creepy movements, voice and general presence consistently brings back memories of the first two films.

However, the commendable acting is not enough to distract from the horrifically slow pace of the movie, as well as a lack of ingenuity followed by a very disappointing climax. 

We all know what to expect by now in terms of the scares; for the first 20 minutes or so, nothing particularly frightful occurs. A door opens of its own accord, or perhaps a light switches on for no reason. However, in previous instalments, particularly the second, there have been stand out moments of genuine fright and terror in the audience. Take for example, the kitchen scene in Paranormal Activity 2 in which Kristi sits in the middle of the day and reads a magazine. Then, with no anticipation or the ominous rumbling that we have come to expect, every single cupboard door slams open with an explosive bang, making us jump out of our seats. 

Unfortunately there is no such moment in Paranormal Activity 4. There is a massively tense build up to each scare, which ultimately makes the moment itself predictable and unable to live up to the promise of the anticipation. For example, several scenes involving the family's cat jumping in front of the camera become tiresome and it almost gets to the point where we are insulted by the film-makers for leading us on so tediously. 

Add to this a really short lived period of exciting terror during the last twenty seconds of the film and we are left with a bitter realization that Paranormal Activity 4 could have, and should have, been much scarier than it actually was. The movie itself is very unevenly paced, as it takes a very long time for the real tension to crank up and even then, it seems to end as soon as the film begins to show superb potential by transforming into a tale of pure terror. The final few terrifying minutes are easily the best moments of the movie and it's unfortunate that they are not a decent representation of the feature as a whole. 

Summary

Paranormal Activity 4 marks yet another commercially successful yet critically wavering episode in a series which has experienced a wavering level of quality in itself. To its merit, it has a superb cast who act brilliantly and naturally, which absorbs us further into a film which demands our full attention. That said, movie-goers who have been critical of the franchise in the past are unlikely to be converted this time, as the movie brings nothing new to the formula and is easily the least scary in the entire tetralogy so far. 

Better than the third but not quite reaching the same shocking heights of the first two, Paranormal Activity 4 is a decent spooky flick, however some horror fans may be hoping for something a little more Sinister...

6/10 - Not Bad

See it if you liked: Insidious (2011), Sinister (2012), The Possession (2012)

Review: Ruby Sparks

Review: Ruby Sparks

Don't be fooled by the trailers on this one. Ruby Sparks may look like a cute, fun romantic comedy but underneath that enjoyable surface lies a deeper, anguished tale of obsession, perfection and the harsh truth of reality. 

It's an ode to the superb script (a little 500 Days of Summer with a dash of Meet The Parents, all thrown in to the Donnie Darko mixing pot) that, despite its frequent flips from romantic comedy to psychological drama, Ruby Sparks never feels messy or confusing. With a compelling protagonist, a suitable girl next door and absorbing displays of incredible acting, there is very little to complain about with regards to this feature.

So what's it all about? 

Paul Dano, fresh from his ill-fated role in Looper shows off his diversity as Calvin, a young writer whose first novel reached extraordinary heights by topping the New York Times Best-seller List. A few years later and Calvin lives alone, unable to eliminate the writer's block preventing him from publishing his follow-up book. That is until, after an extremely vivid dream about a fictional girl named "Ruby Sparks", Calvin begins writing her entire story - a story that suddenly becomes real as she appears as a physical being in his kitchen. 

Soon realising that Ruby isn't all she's totally built up to be, Calvin begins re-writing her entire personality, changing her moods and feelings to his will. Before long, he falls into a dangerous obsessive game as he tries to create the perfect girlfriend for himself, failing to understand that even the girl of his dreams can come with some very real life problems.

It's a delicate comic premise that doesn't get tangled up by any sci-fi or magical explanations as to how the situation could possibly occur. There's a guy with a typewriter. He just wrote a girl into existence. They are now in a relationship. "How does this even happen?" asks Calvin's brother. "I don't know, it's love, it's magic!" he replies, willing to bury his head in the sand.

Yet the charm of the movie is with Calvin himself; an every-man whose previous relationships have crumbled due to his incessant need for perfection. He has an idea of what his girlfriend should be, and until he literally creates his own, none have satisfied him before. Ruby Sparks is not afraid to show its dark side, and Calvin is the embodiment of the film's ambiguity in terms of its tone. Paul Dano plays him with a naive innocence that makes the later, more sinister scenes that bit more disturbing - seeing our protagonist make the wrong choices, and watching as his relationship with his dream girl falls apart, pulls us into the film even further than the superb acting did in the first place. 

Ruby herself is played brilliantly by Zoe Kazan, an extremely talented actress who also holds the credit of screenwriter for this particular film. At times we sympathize with Calvin, as Ruby slips through his fingers only to be snapped back as soon as he hits the typewriter. Yet, for all her cute, adorable perks, she too hides an underlying sadness and a need to find out the truth behind her existence. The standout scene of the film, in which Calvin sinks to his all time low by using his typewriter in front of Ruby and forcing her to carry out a mixture of absurd and degrading acts to prove he can "make her do anything", shows that Kazan is capable of more than just giggling and smiling - she packs a serious emotional punch.

If her acting is a punch, then her writing is a knockout. There is comedy littered all over Ruby Sparks, particularly in the first act where Calvin is still trying to determine whether or not Ruby is real - yet it succeeds at becoming a true study of a relationship. Should one person have more power than the other? Is ambiguity healthy? Is there really a perfect match for everyone, or should we just accept that we're to make do with what we're given? It's a deep study into the psychological needs of one half of the relationship, and there are curveballs around every corner.

So the only complaint to be made regarding the film is the fact that the supporting characters are incredibly unoriginal. About an hour in we meet Calvin's mum and stepdad, a pair of 'medicinal plant' growing free spirits who live detached from society. One would be forgiven for being reminded of Meet The Parents, particularly when it comes to Antonio Banderas playing Calvin's incredibly eccentric stepdad - and just try to hear him talking without thinking of Puss In Boots!

Add to that Calvin's very overly familiar brother, a man who initially can't believe his sibling's situation, and we have a ragtag band of secondary fillers who do very little to push the plot forward.

Despite this, though, the constantly changing vibe of the narrative is enough to keep audiences completely engrossed in the story.

Summary

Ruby Sparks doesn't try to be any more than it actually is. Primarily, it is a love story, but it is an incredibly diverse one. Beneath its bubbly exterior, the film hides a thought-provoking examination of modern relationships and the over-possessive tendencies one may have over another person. The story will stay with you long after you leave the cinema and, despite some unnecessarily contrived side characters, Ruby Sparks is a superbly acted, brilliantly scripted flick for anyone who's ever wondered "what if?" after all was said and done.

9/10 - Brilliant

See it if you liked: 500 Days of Summer (2009), The Truman Show (1998), Little Miss Sunshine (2007)

Review: Liberal Arts

Review: Liberal Arts

The curse of the sitcom has hit Josh Radnor pretty hard, as to the masses he is known simply as Ted from the brilliant sitcom How I Met Your Mother. Yet that hasn't stopped him from breaking out of the mould, if purely for his own personal pleasure, by writing and directing a stunningly true-to-life tale of nostalgia and philosophy in the form of Liberal Arts.

It's not perfect by any means; Radnor shows a great talent for scriptwriting and character development within his story, however there is no particular ingenuity with regards to his film-making techniques. This often leads to a little boredom, and audiences may leave the cinema wishing that the movie had gone that extra mile to be slightly more visually impressive. Yet despite its flaws, Liberal Arts is an engaging film, and probably the best indie flick of the year. 

The movie follows the story of Jesse, a 35 year old college admissions officer whose head has been buried deep in books ever since his graduation from college. He longs to experience the nostalgia of campus life once again, so when Jesse's old professor calls to invite him to a retirement party, he jumps at the chance to visit his old educational environment. He meets 19 year old Zibby (played surprisingly well by Elizabeth Olsen), and the two quickly connect over a shared love of literature, language and philosophy. Jesse soon begins to wonder if it's time for a second stab at life, and restarts university once again as he pursues a deeper relationship with Zibby.

The narrative's pretty basic, but that doesn't stop it from being charming - sometimes the simplest narratives have the biggest impact, and Liberal Arts is certainly engaging. There are a few lulls here and there, however, particularly when Jesse and Zibby begin abusing modern pop culture - the characters begin to become slightly unlikable and cocky. 

That said, Radnor really excels in his role and handles the pressure brilliantly. Jesse is given strength by the realism of Radnor's performance, and his upbeat attitude throughout the majority of the film really hides an underlying sadness. "What was your major?" asks Zibby. "I was English," replies Jesse, grinning. "With a minor in history. Just to make sure I was fully unemployable." 

As for Elizabeth Olsen, the major surprise of the film is just how good she actually is, particularly during the most emotional moments. Zibby's relationship with Jesse is so easy to believe; it's naturally formed and it naturally clicks together - and, true to real life, it's left ambiguous for a long period of time.

The supporting cast are decent, particularly the excellent Richard Jenkins as Jesse's old professor who hilariously decides he isn't ready for retirement after all. Zac Efron also makes an appearance as (the slightly unnecessary) Nat, a young stoner student whose philosophical debates keep Jesse entertained in spite of himself.

Like I said earlier, the main problem with the film is the lack of diversity within its cinematography. Fans of indie movies looking for colourful, cutesy scenes like the intro of 2007's Juno, or ingenious moments such as the "Reality" and "Expectations" scene from 2009's 500 Days of Summer will be disappointed for the most part, as Liberal Arts lacks any particularly exciting imagery to match its colourful dialogue. What it lacks in this department, however, it makes up for in lighthearted comedy, such as when Jesse restarts university and spends his days carrying out stereotypically student activities such as playing guitar underneath trees, capering over the lawns and even throwing frisbees with glee on his face.

Summary

Liberal Arts is the best indie film of 2012, and although it lacks the visual punch and artistic imagery of similar flicks, Josh Radnor's latest directorial venture is a charmingly brilliant look at nostalgia and philosophy. This is a film that treats its audience like they may actually have a brain, and the script is incredibly true to life; its realism is sure to entice viewers even further than the excellent performances from its cast. The way that Liberal Arts shows that life can barge in the way of one's best laid plans is the main reason that anyone prone to nostalgia - or even procrastination - should see it.

8/10 - Great

See it if you liked: 500 Days of Summer (2009), happythankyoumoreplease (2010), Midnight In Paris (2011)

Newsarama: 7th October

Newsarama: 7th October

Newsarama is here once again, rounding off the week with a look back at the most interesting tidbits of movie news from the last seven days. Exciting new teaser trailers this week, as well as the reveal of some bizarre boardgame adaptations in the works.

10. Captain America 2 auditioning for a leading lady.

Since his untimely departure from his own era, poor old Steve Rogers has been missing his beloved Peggy Carter. Well, he may be in luck, as there's a new love interest on the cards for him to bond with in his sequel Captain America: The Winter Soldier.

Marvel have apparently assembled (geddit?) a wide range of female talent to audition for the unspecified role, including Imogen Poots, Teresa Palmer, Emilia Clarke and Jessica Brown Findlay. Logic would suggest that the part in question is that of Sharon Carter who, in the comics, is the granddaughter of Cap's girl in the first movie and offers him solace in his new modern setting.

Meanwhile, Marvel have also confirmed that Scarlett Johansson's Black Widow will be making an appearance in the movie, ensuring the Marvel universe stays consistent with its crossovers following The Avengers this year. Captain America 2 opens in the UK on April 4th 2014.

9. Director Matt Reeves confirmed for Dawn of the Planet of the Apes.

Rupert Wyatt jumped ship from the sequel to 2011's Rise of the Planet of the Apes a few weeks ago following disagreements regarding the tight release schedule. Now, Cloverfield and Let Me In director Matt Reeves will commandeer Dawn of the Planet of the Apes. Reeves is no stranger to huge action blockbusters, and Cloverfield certainly showed off his ability to display chaos and destruction.

His appointment does not change the release date, which will be May 22nd 2014.

8. Andrew Garfield and Marc Webb confirmed for Amazing Spider-Man 2.

It was pretty much a given thanks to the success of the first installment, but Andrew Garfield has signed on to reprise his role as Peter Parker in the sequel to this year's The Amazing Spider-Man. The reboot of the Spider-Man franchise grossed over $750million dollars at the worldwide box office, so it's no surprise that Sony are looking to push forward with a sequel. 

Also, director Marc Webb has confirmed he will return to front the film. The only major player still in talks to return is Emma Stone, who played Peter's love interest Gwen Stacy, but given that the sequel(s) may revolve around Gwen's fate (spoilers!) it would be very inconsistent for the series if she didn't reprise her role. The film's plot is being kept under wraps for now, however it has a release date of April 18th 2014.

7. Hasbro going wild with boardgame adaptations.

Following the, er, "success" of this year's Battleship, Hasbro are clearly going a little crazy with the brainstorming sessions at boardgame HQ. They have announced 3 more movies to be adapted from their family-friendly toys, including (you ready for this?): Monopoly, Action Man and Hungry Hungry Hippos.

I swear I'm not making this up. I'm going to cross my fingers and hope that Monopoly turns out to be an 18-rated drug fuelled bender movie starring Christopher Lloyd as "The Monopoly Man", desperately trying to pay off his gangster debts by selling train stations and hotels.

6. Rian Johnson provides in-cinema commentary for Looper.

Cinema-goers who loved Looper enough to see it a second time are in for a treat, as writer/director Rian Johnson has provided an audio commentary which can be taken into the cinema. Here's what he had to say on the matter:

"I recorded a commentary track to be downloaded, put on an ipod and listened to in the theater as you're watching Looper. This is an odd thing I tried with The Brothers Bloom, and have gotten a few requests for it again, so here it is. It is totally different from the commentary track that will be on the Blu/DVD, a bit more technical and detailed. Needless to say, this is NOT to be listened to on a first viewing, or before you've seen the film. Also, please work it so that a glowing screening is never out of your pocket during the movie. Listen to the introduction before heading to the theater, it has instructions.  And lemme know how it works."

Rian Johnson's audio commentary can be downloaded when you visit his Tumblr by clicking right here.

5. Seth Macfarlane will host the 2013 Oscars.

Seth Macfarlane, the man behind Family Guy and this year's feature film Ted, will host the Oscars next year. The ceremony, which celebrates and awards the most outstanding movies of the past year, was hosted by Billy Crystal this year and Anne Hathaway and James Franco in 2011. Both shows were panned for being "stale", "boring" and "not risky enough."

Given Macfarlane's affection for poking fun at celebrities, as well as his pedant for showtunes, we should be in for a decent night. Not quite as risky as Ricky Gervais but still a lot more entertaining than Billy Crystal.

4. Warner Bros. to re-release The Wizard of Oz in 3D.

To coincide with their 90th anniversary next year, Warner Bros. have given themselves a shiny new logo. The sheen will no doubt be paid for when they re-release one of their biggest hits, The Wizard of Oz, in 3D. Expected to be released in late 2013, possibly October, the movie will be preceeded by a 100-film DVD boxset including some of Warner Bros. biggest hits. The sets will also include a variety of documentaries and never before seen footage.

The downside? They're expected to have a retail price of over £400. Well, now that Harry Potter and Batman are gone, Warner Bros. do need the cash...

3. The Hobbit: An Unexpected Journey's Extended Editions confirmed.

It was to be expected, following the phenomenal success of the extended versions of the Lord of the Rings movies. The Hobbit trilogy, a prequel to LOTR, will also recieve the extended treatment. 

While the movie adaptation of Tolkien's beloved novel will hit cinemas on December 14th this year, the DVDs will be released in the summer of 2013 and will include up to 45 minutes worth of extra footage, as well as exclusive documentaries and interviews with the cast and crew. 

Now you're Tolkien! Sorry...

2. Taken 3 could be taking it too far according to franchise director.

Poor old Taken 2 has had a tough time of it from the critics (you can read my review by clicking right here), but that hasn't stopped audiences around the world lapping it up.

So the inevitable question rose once again over the weekend - will there be a Taken 3?

Director Olivier Megaton (who is not a Transformer, as far as I know), squashed rumours immediately, stating: "We want to work with Liam again on another movie, and the priority is to do something else, another movie. I don’t think that it will go on for Taken 3, I don’t see the point. The second one, it was fine, we closed the books. Even the screenwriters, if this one’s a success too, maybe they’re going to think about it, money is money for them. But it will be very difficult to ask Liam to be back again. The logic of his character has ended for this one, for me."

 1. Trailer round-up: Die Hard 5, The Lone Ranger, Bullet To The Head and The Croods.

This week saw a steady trickle of trailers from Hollywood, including a new outing for Bruce Willis in A Good Day To Die Hard, Johnny Depp up to his (coughtboringcough) wacky adventures in The Lone Ranger, Sylvester Stallone kicking ass in Bullet To The Head and Nicolas Cage teaming up with Emma Stone in The Croods.

You can check out all of the trailers below. Check back to Movies Under The Microscope this week for reviews of The Perks of Being a Wallflower, Liberal Arts and Ruby Sparks.