King of the World

Princess Mononoke is a delightful anime from the man who has come to define everything that is best about the genre, arguably, this was Hayao Miyazaki's calling card to the world outside Japan. The English voice cast boasts Billy Crudup, Billy Bob Thornton, Minnie Driver, Claire Danes, Jada Pinkett Smith, Gillan Anderson and Keith David - a considerable volume of talent for an animation back in 1997 (Toy Story was 1995), arguably marking the beginning of another trend - for big names to be heard and not seen. There are familiar anime tropes here, but all handled with such sensitivity and style that they still feel fresh on viewing today. The theme of environmentalism is strong, but not stereotyped - character motivations going far beyond cardboard cut-out in their complexity, and it is refreshing and enjoyable that Miyazaki finds room for nobility and honour in his protagonists given the present penchant for anti-heroism. Cinema is the poorer for the recent news that Miyazaki has retired at the age of 73. Here's hoping that the art of animation and of film-making properly acknowledge the debt that it owes him.

Bare-faced Greatness

A compelling throwback to the suspenseful thrillers of 60 years ago, Two Faces of January is as stylish a film as you will see from any decade since talkies began. Reminiscent of Hitchcock in his 1950's pomp, but without the melodrama, writer director Hossein Amini's interpretation of Patricia Highsmith's novel is beautiful to look at. The European locations evoke an idealised period of foreign travel, yet the film has an underbelly that scrapes the surface of gritty realism in the way that Hitchcock did not. The result is an involving slow burn with flashes of action only when warranted. The heart of the film is the evolving relationship between its three stars, who quickly become tied together. No McGuffins here, only solid plotting and convincing events used effectively to advance the story. The central performances are compelling and highly accomplished. Oscar Isaac must now be on the verge of the A-list after following Llewyn Davis with his excellent turn here, and Kirsten Dunst steps out of the shadow of teen movies and blockbuster love interest with a beguiling  performance in the role of Colette. But Mortensen is the emotional engine whose misfiring character, MacFarland, pushes the plot forward with stuttering steps. His performance should be considered a career best as he embraces all of MacFarland's flaws and lays them bare for the audience to great emotional effect. After such an assured and beautifully realised performance behind the camera, there can be little doubt that Hossein Amini's future is likely to be in the director's chair, and his next project should be awaited with keen anticipation.

Bring Me the Head of Butch Cassidy

Sam Shepard is as watchable as ever as the titular Blackthorn in this predominantly Spanish-produced Western that harks back to the latter days of the genre's golden period. But Blackthorn also rejoices in some of the fresh realism that has been a feature of the few successful Westerns since the likes of Robert Mitchum and the Duke himself hung up their spurs in the late 60's, with Kevin Costner and godfather of the modern western, Clint Eastwood, seemingly at the forefront of the drive to keep the genre alive. Shepard does hard-bitten outlaw as well as anyone,  but it would be a lesser watch without the strong support of Eduardo Noriega (Vantage Point, The Devil's Backbone) and Stephen Rea (no reference required!), and the characters around them, including support from South American actors led by Peruvian actress Magaly Solier, which deserve much credit, and all enhance the production significantly. The flashbacks to more familiar past events are inevitable given the central conceit, and this is where the main scenes are in danger of being undermined. The scenes from the past, featuring Nikolaj Coster-Waldau, Padraig Delaney and Dominique McElligott, seem to attempt the easy comedic camaraderie of the original Newman-Redford film, but fall a long way short. Still, the flashbacks are not long, and Shepard's performance relegates any concerns to the back of one's mind. Blackthorn is less po-faced and introspective than The Assassination of Jesse James, more expansive than Unforgiven and more challenging than Open Range. Not to be missed by genre fans, and deserving of attention from everyone.

Whose Line Is It Anyway?

The Draughtsman's Contract is a quixotic and verbose tale of intrigue, mistrust and betrayal from auteur Peter Greenaway, Anthony Higgins is captivating as the titular protagonist, Neville, with strong performances from all around him in this typically stagey production that rejoices in the full glory of the English language. The premise is novel, the manners quite brutal and the appearance of the whole thing utterly overblown. Unsurprisingly, it is not a comfortable watch, but always entertaining.

Welcome to the Wild East End

If Mike Leigh had directed Lock Stock, it might have turned out something like this charming and enjoyable drama about family. Dexter Fletcher displays a sure touch in the direction of a script co-written with Danny King and there are fine lead performances from Charlie Creed-Miles and rising star Will Poulter (Son of Rambow, We're The Millers, etc.), with a liberal sprinkling of able support from a fine range of British thesping talent, including Marc Warren, Olivia Williams, Jason Flemyng, Sean Pertwee and Andy Serkis, deservedly permitted to leave his ping-pong ball-covered leotard in the cupboard again. The mobster tropes are predictable but, thankfully, the snappy script keeping things moving and avoids proceedings ending up in that derelict siding reserved for rusting gangster cliches.  Credit for that goes to Fletcher, who has generated some real expectations with this fine beginning.

Come to praise Pfister, not to bury him

Forget everything that you have heard about this film and see it for yourself, Wally Pfister has earned that much in his deservedly stellar career as a Director of Photography, predominantly for Chris Nolan. His directorial debut is a complex and interesting film that asks big questions and does not take sides in examining what the answers might be. It's a beautiful film, which is to be expected, but great credit must also go to Pfister's own DP, Jess Hall, who had a big shadow to work in. Pfister has employed a very interesting cast, clearly concentrating on quality rather than name-dropping. Paul Bettany and Rebecca Hall are enthralling, transporting the viewer directly to the heart of the conflict. Kate Mara is satisfyingly determined as the foil for the scientists, and if Morgan Freeman seems under-served it should be seen as a tribute to Bettany and Hall, and to Johnny Depp. It's a real pleasure to see him acting instead of leaping from rooftops, chewing the scenery or slurring his words and smudging his mascara. Depp is highly effective as the 'man' at the centre of the plot, and his understated performance serves the story well. Clearly, there has been a critical backlash against the film, not as vitriolic as that which torpedoed John Carter, but equally undeserved. Transcendence perhaps presages its reception in reminding us that people distrust what they don't understand, but Pfister's excellent film deserves at least the attempt from its audience, and any effort to examine the narrative will be rewarded. It might be said that the film feels longer than it is, arguably because it is not tempted to repeat the derivative structure of so many blockbusters, and Pfister and writer Jack Paglen should be commended for that. It does mean however that some threads do not get all of the attention they deserve, to the point of risking superficiality in these areas, but there is a clear and highly satisfying story arc, and an equivocal ending, not surprising considering Pfister's affiliation. If there is any such thing as justice in film (doubtful), Chris Nolan is going to need a new DP and Transcendence will be lauded in years to come.

Can't Touch This

Intouchables is a delightful and surprising drama starring the ever excellent Francois Cluzet and the conquering presence that is Omar Sy. Unlike so many difficult-to-watch and hard-to-love dramas dealing with the subject of physical disability, ‘Untouchable’ handles the central theme with a belligerent acceptance that is far more relatable than the worthy wringing of hands that is often the adopted technique. The direction of the film’s writers Olivier Nakache and Eric Toledano is assured, with hardly a missed step, and they explore many interesting and novel ways to cast light on the protagonist Cluzet's difficult situation. Sy is a revelation, a fireball of energy and charm, and both are impossible not to root for straight from the gripping opening sequence. For those who think they don't like 'foreign' films, this would be the perfect introduction.

Chris Nolan Rises

By now it must be irrefutable that Christopher Nolan is one of the greatest film-makers working today, and I would argue till I am blue in the face with anyone who says he has made a single feature that is not a superb example of the film-making art. He can do it all, complex, thought-provoking, exciting, adventurous, heart-rending, challenging, cerebral. He has taken mind-bending arthouse conception and made it mainstream with 'Memento', he has taken crime drama and elevated it to art with 'Insomnia', made recording slight of hand an unexpected delight with 'The Prestige', but the greatest trick that he ever pulled, his greatest achievement to date must be his realisation of the cinematic holy grail, the one thing that everyone from the business men to the punters; the technicians to the marketeers; the film buffs to the thespians have been craving for decades, an action triology that is good all the way through, an action triolgy that is intellegent, surprising, rewarding and successful. With Batman that is what he has done. Okay, it's not perfect, no film is. In this latest installement there is still a quibble or two. Bane's voice is annoying. Presumably the queer Dickensian tone was chosen to draw a distinction between it and Bale's gravelly drawl, but there is no obvious rationale for such sub Carry On comic accent. Also, Warner Brothers can expect a class action suit for whiplash after the tirade of cuts in the last 15 minutes, but these are quibbles, when the whole is an audaciously grand construction of a scale dwarfing most blockbusters, beautifully capturing the feel of the Batman stories, and not drenching them in stultifying darkness as has been done before, but having the courage to shine a light on the man behind the mask. Because Nolan knows that a blockbuster is just a big empty shell if it is not peopled by living breathing characters. They are here in abundance, and it is the very personal loves, friendships, rivlarlies and hatreds between them that drive the movie, that fill Nolan's magnificent construction with life. And in the end it all pays off, the huge set pieces, the fights, the flashbacks, the fiesty dialogue, the human relationships, every element is resolved, tied up and presented to the viewer with a big bow on it. Nolan knows what we want, he knows how to present it to us, and he provides it to us in spades - satisfaction.

In The Loop

Enjoyable SF effort from emerging auteur Rian Johnson, writer and director of the excellent 'Brick' and the very good (but not excellent) 'Brothers Bloom', 'Looper' is a challenging time-travel yarn, which finds Joseph Gordon-Levitt trying to unpick the tangled plot strands that run through what is a stylish future thriller. The make-up work to alter JGL and make him more Willis-like is remarkably good, and there's a functional matter-of-factness about the technology of the future that makes it easy to accept, a believable near(ish)-future, and the whole thing looks wonderful thanks to DP Steve Yedlin. But 'Looper' is not without issues. Being told more than once not to think about the implications of time travel felt patronising, even when it is the very excellent Jeff Daniels doing the telling - and Mr. J. could have done a lot worse than take a leaf out of the book of the superlative 'Primer' (find it, watch it) and Shane Carruth in that regard. It all goes a bit 'Witness' in the third act, but there is sufficient chemistry between Emily Blunt and JGL that the tension is maintained, and the climax is impactful and highly satisfying. What higher recommendation can there be for Mr. Johnson's abilities than the fact that he has delivered three episodes of the seminal 'Breaking Bad'? We should be awaiting his next project with bated breath.

An Affair to Remember

Often grim, but always enthralling period piece directed by Nikolaj Arcel, who co-wrote the screenplay for the original Swedish produciton of The Girl with the Dragon Tattoo. Arcel is favoured by remarkable performances from his leads. The incomparable Mads Mikkelsen is as intense as ever and commands the screen, while Alicia Vikander gives an accomplished performance as the young queen, but Mikkel Følsgaard as 'mad' Christian must be the standout, he is entirely convincing in a role that clearly demanded a considerable range of emotion and temperament. You will recognise numerous other faces and we should continue to be thankful that Scandanavian cinema is deservedly enjoying so much attention, and broadening our viewing horizons, it is such a rich source of material and talent. 'A Royal Affair' is not an easy watch, like so many historical pieces that chart the lives of monarchs and those around them, there is a thick vein of tragedy running through the story. It is not a film likely to be pulled out on a cold winter's evening for its hearwarming properties, but it is a rewarding experience and should open viewers up to seek others works from Scandanavia's increasingly excellent film industry.

On The Bounce

'Ricochet's strong opening sequence, reminiscent of titles straight from a Hitchcock movie, bodes well and it's Denzel to the max from the opening frames. The film is very much a product of the 80's in its look and sound, and there's a hard edge and some snappy dialogue that really pushes the action forward without pulling any of its numerous punches. This is most likely down to the screenplay being penned by Steven de Souza who wrote Die Hard; Die Hard 2; 48 Hours and Another 48 Hours, some of the previous decades' defining films, aided and abetted by director Russell Mulcahy of Highlander fame. John Lithgow's performance is suitably deranged, Kevin Pollack provides solid support (nice impression in the early stages). It's a good story, not without a Hitchcockian twist or two, arguably not particularly polished as a final product, but still a barrel load of kitschy '80's fun (even though it was released in 1991). Well worth a look, especially for Denzel Washington fans who might have missed it.

Reitman For The Job

Cutting satire from Jason Reitman who also wrote the screenplay, and he directs an excellent cast, some in blink-and-you'll-miss-it cameos. Aaron Eckhart is every inch the unscrupulous and single-minded PR wiz, sauntering through a slightly chaotic series of episodes, surrounded by a host of well drawn characters. The scenes featuring the cabal of Eckhart, Mario Bello (booze) and David Koechner (guns) are biting, and a triumvirate of Robert Duval, JK Simmons and William H. Macy provide the gravitas (sort of!). As if that wasn't enough to keep your attention, there are appearances by Sam Elliot, Rob Lowe, Dennis Miller and Todd Louiso. Katie Holmes plays reporter with her sights on the protagonist well enough. All in all it's an entertaining piece and should get the grey cells going, but for Reitman it perhaps serves best as a warm up for what followed, namely 'Juno' then 'Up in the Air'.

Where's Liam?

'Unknown' is a solid espionage thriller with a very good cast and excellent locations in Berlin, directed by Jaume Collet-Serra, and preceded by the Spaniard's third film 'Orphan'. Liam is a rock (not The Rock) in the lead, now thoroughly established as a main man in the action movie business, and he has excellent support from Frank Langella, Diane Kruger and January Jones, but it is Bruno Ganz who steals the show in terms of acting chops as a former Stasi officer, indeed the short scene that he shares with Langella is the film's most tense and poignant, superb acting. There’s something of the feel of Roman Polanski’s ‘Frantic’ in the perilous pursuit through a European capital, although this is a grittier affair and probably the better for it. Not to be confused with 'Taken' which is a completely different animal.

Quack, Quack, Ooops

'A Dangerous Method' is an intriguing intellectual ménage a trois, with compelling work by its leads. Keira Knightley, Michael Fassbender and Viggo Mortensen are uniformly excellent, their sparring enlivening the potentially po-faced historical events that lie behind it. But we are in the hands of a master, and there is no danger of David Cronenberg dropping the metaphorical ball as he wrangles Christopher Hampton's screenplay, from his play 'The Talking Cure', from John Kerr's book ' A Dangerous Method' - are you with me? So how should this make us feel? Well it's a highly enjoyable costumed romp through the early days of psychoanalysis, made with flare and driven by strong performances. There is ample opportunity for DC to provide some signature body-shock moments, which he does, and these are central to a brave turn by Keira Knightley, whose performance is the stand-out (arguably topping the Fass himself, no mean feat). ‘Bend It Like Beckham’ this is not, more like 'Love Actually' Cronenberg style.

Made to Last

A heart-warming ode to life in industrial Britain in the late '60's, 'Made in Dagenham' is a superb film, focused on the plight of female workers in a male-dominated world, and the ladies are well and truly to the fore, none more so than a brilliant Sally Hawkins who gives us a quietly determined and ultimately unshakeable character to root for. Geraldine James and Andrea Riseborough are as good in her support, infusing very different parts with careworn vulnerability and indomitable bravado respectively. And the men are by no means made of straw, the always excellent Bob Hoskins is in top form as the wily union rep, while Daniel Mays makes playing second fiddle an art as the sidelined husband, and there is a rousing performance when Richard Schiff makes a delightfully unexpected appearance as the uncaring American exec. It would be easy to go on rhyming off wonderful turns by fine members of the cast, but two more must be singled out for attention. Miranda Richardson is superbly short-tempered and impatient as woman-at-the-top Barbara Castle, and Roger Lloyd-Pack's performance is a heart-wrenching reminder of a war not so long past at that time. In the end 'Made in Dagenham' is a triumph on many levels, and great credit must go to writer William Ivory and director Nigel Cole, it is worth watching for the production design alone. Made in Britain, Rule Britannia, God Save the Queen, etc.

The 'more the Merrier

Delighful and occasionally infuriating, 'Rushmore' is another Andersonian gem, littered with challenges to the conventions and roles of adulthood. Jason Schwartzman teeters on the brink of believability as Max Fischer, seeming at times to be straining against the physical aspects of the part, but in the end this conceit (JS was only 3 years older than Max at the time) is can be accepted as events breeze past it. All the roles are beautifully inhabited by a fine cast, Bill Murray seemingly effortless as usual, Olivia Williams quietly captivating. The smaller parts tend to flit in and out of the story, but always to great effect and staying in the memory, they contribute to a sweet and highly enjoyable piece with a riproaring conclusion. As expected, the soundtrack is a chocolate box of unexpected but carefully chosen treats, knitted together with original music by Devo's Mark Mothersbaugh. Rushmore is a  great pleasure after some initial annoyance, when parents in the audience may have the urge to react to Max's petulance, but it's nicely judged, another diamond on the already glittering path followed by fans of the Fantastic Mr. Wes.

Show Me The Moneyball

'Moneyball' is a good addition to the great pantheon of sports movies, to the credit of to-die-for writing team of Aaron Sorkin and Steve Zaillian, who do their best to refrain from trotting out the old sports movie clichés (there might be the odd one). Director Bennett Miller does not drop the ball, assembling a good looking film that does for sports stats what ‘The West Wing’ did for politics – look for greatness in the future from the man whose previous and first directing job was ‘Capote’.

A particularly nice touch is the interweaving of flashbacks to the back story of Pitt’s ‘Billy Beane’ through the events of the first act. Brad evokes strong memories of Robert Redford in ‘The Natural’, not just in his physical appearance (increasingly craggy) but in his unhurried delivery and deceptively casual style.

The best elements of 'Moneyball' are the conflicts, especially the head butting between Brad Pitt and the Oakland A’s staff (notably Philip Seymour Hoffman), which is crackling – but without the histrionics of say ‘Any Given Sunday’ (although that has its place). Notably, Jonah Hill puts in a nicely judged performance, good to see him in a serious roll, fitting comfortably in the room with Pitt and Hoffman.

At the bottom of the ninth, 'Moneyball' is everything that 'Jerry Maguire' is not. The characters are engaging and the dead pan humour is glorious. Highly recommended.

(Not) Pot Luck

Potiche is a delightful French comedy from Francois Ozon (director of Simming Pool) starring Catherine Deneuve and Gerard Depardieu. There is gentle humour but with the style and lightness of touch that one would expect from our European cousins across La Manche. Deneuve and Depardieu are highly watchable, and well supported by the rest of the cast, but it is very much support with Catherine and Gerard at the centre of attention. The plot meanders somewhat, but this need not be a bad thing as it allows some breathing space to take in the beautiful production design that puts the film firmly in mid 1970's France. I cannot help thinking of a comparison with Carry On At Your Convenience as a double bill that would highlight the differences between British and French humour, not to mention culture. That is obviously unfair, since Carry On... was a product of the actual 70's, rather than a film made in 2010 and looking back, but if nothing else Potiche should be taken as a recommendation to go and seek out French comedies of all ages.

Life In The Fast Lane

The Runaways is an entertaining story of the rise and fall of the eponymous band, with good lead performances by Kristen Stewart and Dakota Fanning as the mainstays of the group, Joan Jett and Cherie Currie. The story itself is a familiar one, no less so because it is probably largely true of the arc of many rock bands, an arc lampooned brilliantly by This is... Spinal Tap, and you will see comparisons between this film and that comic fiction, but what Christopher Guest did not stretch the limits of his fiction to are the wild-eyed antics of crack-pot impresario Kim Fowley, brilliantly played by Michael Shannon. Among the many fresh faces on show is an older one who was the child protégé of her day, Tatum O'Neal (ask your mum), daughter of Ryan O'Neal (ask your gran), as Cherie's mother. Enjoyable stuff, if not exactly family fayre, and definitely not one to watch with your 16 year old daughter (eeuw!).

Grey Days

Guillaume Canet (the French guy in The Beach, but with many other acting and directing credits) writes and directs an excellent cast in a languid tale that wonders through the lives and relationships of a group of friends holidaying in the beautiful surroundings of Cap Ferret. The mix of characters and temperaments is played nicely by an engaging collection of thesps Francaise   including Marion Cotillard, Francois Cluzet, Gilles Lellouche and Jean Dujardin, and Canet gives the main characters plenty to do, with various parallel story threads pulling them together, these threads mingle to coax the film forward, but at a pace consistent with that feeling of being on holiday when nothing has quite the same imperative as it does in the world of work. Canet guides proceedings ably toward the denouements of the various strands with a gentle touch, and there is a nice variation in tone throughout, with moments of real passion, drama, comedy and conflict, perhaps tending to melodrama in places, but without tipping over into multiple Kleenex territory. Events are brought together effectively in the third act, and Canet and his cast deliver an emotional conclusion that is highly satisfying, and you might need that hankie at the end after all.