The Golden Compass

POLAR bears clashing in ferocious combat. Now that’s what I call a winter blockbuster!
Based on a bold and ambitious story by Philip Pullman, The Golden Compass is the kind of creation that was confined to the realms of the imagination not long ago.
But now that we have tumbled into the era of computer generation, the vivid thoughts of authors can be transformed into something of a visual sensation.
Many naysayers and directors of yore slate modern cinema but this is an exciting time for fantasy fans.
Because films like this rely on their aesthetic qualities to push the story forward and to allow the viewer to suspend their belief. The Golden Compass - the first instalment of a trilogy - gets the balance just right.
This is a parallel universe to our own where all humans must be accompanied by a daemon (that take on a variety of forms from insects to monkeys).
The story focuses on Lyra Belacqua, a student of Jordan College who falls into the clutches of the cool and calculating Marisa Coulter (Nicole Kidman).
Lyra soon uncovers the truth about a group that kidnap children called ‘the gobblers’ and becomes entangled in an epic struggle to free them.
Although the end battle may be a bit intense for very young viewers, this is great Christmas fodder for the family.
But if you want to avoid being surrounded by children at the cinema, I’d advise seeing this in the evening.

American Gangster

WHEN it comes to a memorable movie experiece, you know you are in safe hands with Ridley Scott.
And with American Gangster, the versatile director has once again proven that there is no genre that he cannot master.
His early career saw him tackle the realm of science fiction with Alien and Blade Runner and when the 21st century kicked in, his interest seemed to sway towards historical epics with Gladiator and Kingdom of Heaven.
Now the cigar toting director has set about conquering the world of gangster movies.
Set in the 1970s, American Gangster is the true - albeit sensationalised - story of Frank Lucas (Denzel Washington), the driver of a leading black crime boss.
When his boss suddenly dies, Frank sees a void in the power structure that he quickly fills.
Not long after, the streets are flooded with high quality drugs that Frank has sourced directly from the Far East during the Vietnam War.
Meanwhile, Richie Roberts (Russell Crowe) is an outcast cop who loses the support of his corrupt department for playing by the rules.
Working on opposite sides of the law - each with their own ethical code - their worlds soon collide and only one man can come out on top.
If you’re looking for a violent gangster film, this isn’t it. There are some particularly grisly scenes but these are intertwined with some hefty characterisation.
With American Gangster you have to be patient - it slowly reveals its charms over its lengthy screen time.

Planet Terror

IF you’re willing to go the extra mile to see Planet Terror, then you’re certainly in for a treat.
The gloriously overblown zombie film has enough blood and gore to keep horror fans sated, enough cheeky one-liners to raise a wry smile and enough guns to make Arnie blush.
Planet Terror also arguably has the best cast since Pulp Fiction. Imagine Bruce Willis as an ominous lieutenant, Lost’s Naveen Andrews as a scientist, The Terminator’s Michael Biehn as a cop and a cameo from Tarantino and you’ll have a pretty good idea.
It is the story of an experimental bio-weapon that is set off at a military base in Texas. A horde of zombies are unleashed and a special ops tearaway and a go go dancer find themselves the unlikely heroes.
As the second instalment of the ill fated Grindhouse feature, the film is a tribute to 70s B-movies but with the zombie storyline, it is clear that director Robert Rodriguez is also paying respect to zombie movie legend George A. Romero.
When the Grindhouse double-feature hit the States, it received an abundance of critical acclaim yet failed to pull in the punters at the cinema.
This has obviously had an impact on the British screenings. Firstly, it is being shown separately to its companion piece, Death Proof and secondly, the film is only on a handful of screens across the region.
So do yourself a favour and search this film out - you won’t be disappointed. Planet Terror is on at the Odeon cinemas in Manchester and the Trafford Centre.

30 Days of Night

AT the northernmost point of North America lies a sleepy Alaskan city called Barrow, which endures a winter of permanent darkness.
This was the setting for the film translation of the comic 30 Days Of Night about a gang of vampires that go bump in the night.
On paper, this appeared to be the perfect premise for a straightforward horror movie but in practice, it lacks the tension to provoke fear or even capture the imagination.
Despite some vague attempts at characterization, director David Slade fails to inject any life into the Barrow residents led by Sheriff Eben Oleson (Josh Harnett).
Apart from a good job by Mark Boone Junior, the characters are two-dimensional throughout and frankly seem to have less soul than the undead bloodsuckers, making it very difficult to vie for them.

Meanwhile, with glazed eyes and vicious claws and teeth, the vampires look great but the effect is somewhat ruined with their annoying shriek.
The vampires also needlessly have their own language which makes no sense since the creatures used to be human. (Where do they learn this new language? Ghoul school?!)
30 Days Of Night does have some nice touches though. Horror fans will rejoice at the sheer level of blood and gore and a magnificent bird’s eye shot reveals the extent of the vampiric carnage.
But beyond that, there is very little to be desired. It has none of the sophistication of Interview with the Vampire, none of the slick execution of From Dusk ‘Til Dawn and none of the gothic style of Underworld. If you want a good film set in the dark, watch Pitch Black instead.

Stardust

WITH the colder nights drawing in, any distraction from the dreary weather is always a welcome prospect.
And what better way to escape the banalities of winter life than with an epic fantasy adventure at the silver screen?
These bold, ambitious movies seem to be the next big thing in the Hollywood nerve centre and thankfully Stardust is an enchanting fairytale that really lives up to its name.
Based on a novel by Neil Gaiman, it is the tale of a young man called Tristan (newcomer Charlie Cox) – an archetype hero, who starts out as a bit of a loser and ends up as a fully-fledged sword-wielding knight.
When he sees a falling star he vows to bring it back home to win the heart of the girl he loves. But to do this he must pass through a gap in an ancient wall, which is the portal to another world called Stormhold.

Meanwhile, a 400-year-old witch called Lamia (Michelle Pfeiffer) ruthlessly hunts the star (personified by Claire Danes), as a source of eternal life and a bunch of treacherous princes need the star’s amulet to be pronounced king.
As these three forces collide, the story gets in full swing and it is well paced and compelling throughout, even with its lengthy two and a half hour running time.
What’s more, the shroud of fantasy always remains strong – perhaps the idea of another world right under our noses somehow makes it more believable.
Also look out for Robert DeNiro as a camp pirate and a collection of British comedy actors such as Mark Heap from Spaced and Adam Buxton from Adam & Joe playing the spectral form of the defeated princes.

Shoot 'Em Up

IMAGINE a Van Damme film with more ideas, a better budget, marginally better acting and significantly greater stunts.
Because that's exactly what you'll get if you go and watch Shoot Em Up this weekend.
It's not exactly going to threaten Schindler's List or Casablanca but in terms of pure high-octane popcorn fodder, you couldn't ask for more and even makes recent action movies like Die Hard 4.0 look mild mannered in comparison.
The affable Clive Owen - who seems to just fall into hero roles these days - plays Smith, a reclusive man who just wants to be left alone.
But when he is minding his own business chewing on a carrot and waiting for a bus, a terrified pregnant woman runs past followed by a gun-wielding goon.

With a sense of moral duty overcoming his urge to walk the other way, he helps deliver the child and kill the bad guys all at once.
But then Smith finds himself in the position of a reluctant nanny as he protects the child from further hoards led by mob boss Hertz (played by Sideways star Paul Giamatti in a curiously refreshing role).
It's a simple premise with slick execution and as long as you just sit back, switch off and forget about the plot, chances are you'll enjoy it.
Envisage henchmen being departed in wild and wonderful ways - many involving the aforementioned carrot - and stunts that are as breathtaking as they are hilarious.

Tales From Earthsea

EVERY son knows that living up to a father’s legacy is rarely an easy task.
And when your father is the founder of a legendary animation studio, that assertion has never held so much weight.
Dubbed by westerners as the ‘Walt Disney of Japan’, Studio Ghibli has created a string of enduring films that have cut through the mainstream in to critical viewing, such as Spirited Away and Princess Mononoke.
Tales From Earthsea is the first feature film directed by Goro Miyazaki – the son of Ghibli genius Hiyao Miyazaki.
Many feared the new director would be crushed under the pressure of expectation, especially since his previous vocational experience was more involved with landscaping than animation.
But it was pleasing to discover that Goro Miyazaki has made a worthy debut based on books by Ursula Le Guin.
Tales From Earthsea is the story of a deteriorating kingdom in which a young and distraught boy called Arren loses his will to live.
After being saved by Sparrowhawk, an Archmage investigating evil sorcery at the root of the problem, Arren slowly starts to realise his destiny to restore balance to Earthsea.
Although the movie avoids the usual eccentricities that usually dance across the screen in Hiyao Miyazaki pictures, it is a really solid and enjoyable story with central themes like life and death and the balance between all living things handled excellently.
For Studio Ghibli fans or for those who want a first taste of Japanese cinema, this is not to be missed.

28 Weeks Later

IT'S so easy to be dubious but 28 Weeks Later is a gruesomely satisfying sequel in every sense of the word.
Set seven months after the Rage virus decimated Britain, the war against the infection has seemingly been won.
Aided by American soldiers, authorities are picking up the pieces of London's ravished city and survivors are being herded into a safe zone simply known as District One'.
Initially, the story focuses on Don (Robert Carlyle) who is reunited with his kids in the first wave of returning refugees.
Anxious to visit their family home, Don's kids sneak out of District One into the restricted area of the city.
But when they reach the house, they unlock a dark secret about the virus which has catastrophic consequences for the survivors.
Using much of the same soundtrack as its predecessor and relying on tension and shock value, 28 Weeks Later succeeds as a sequel because it maintains the same tone as the 2002 original.
Expect dramatic pulsing music, a lot of gore and some genuinely scary bits.
The US military response to the new outbreak of Rage is also emotive and horrific and is an obvious critique of American foreign policy of late.
Generally, 28 Weeks Later is an excellent film and almost lives up to Danny Boyle's original but there are a few snags. A couple of moments are so coincidental and convenient that it almost ruins the experience and the film's subtext is as subtle as a slap in the face.
But if you can forgive these problems, then you'll certainly enjoy the ride.

Spiderman 3

"WHERE do all these guys come from?"
Never has a truer word been spoken by arachnid hero Peter Parker in the third and possibly final instalment of the Sam Raimi opus.
Because, during the lengthy 140-minute film, Spiderman has clashed with three super villains in true comic book style.
Among the eccentric oddballs, expect a petty criminal who conveniently gets caught in an accident that displaces molecules and a parasitic meteoric black substance that engulfs its host.
Yes, Spiderman 3 is very possibly the most absurd edition of the trilogy but, if you suspend your disbelief, you will really enjoy the ride.
Set a short while after the second movie, Peter Parker has finally struck a balance between his relationship with MJ and his duties as a superhero.
But things start to unravel when his relationship becomes jeopardised and a rival is set to swipe the staff job he had lined up at the Daily Bugle.
His best friend Harry Osborn is also out for cold-blooded vengeance for Peter's role in his father's death from the first film.
The fight scenes are astounding and it really goes to show what modern special effects and a budget of more than £250 million can achieve.
It is also the darkest instalment of the trilogy as Spiderman comes to terms with his inner turmoil in and out of the suit.
This is perfectly offset with some hilarious scenes, including Peter Parker trying to play it cool' as well as an excellent cameo by cult legend Bruce Campbell as a French waiter.
In terms of story, Spiderman 3 falls flat and the message of revenge and redemption is horribly clichéd but taken at face value, the film will catch you in its web.

Sunshine

IN space no one can hear you scream. Or at least no one can hear the eerie knell of catastrophe.
Set 50 years in the future, Sunshine is the story of a group of astronauts who are charged with the gallant task of re-igniting the dying sun with a bomb the size of Manhattan Island.
As the film starts, the audience is immediately thrust into the epicentre of the Icarus II vessel at its pinnacle moments.
The crew is about to enter the 'dead zone' of space meaning they can no longer contact Earth, and face the cold fact that they are the last hope to save humanity.
Events then take a turn for the surreal when a chilling distress signal is picked up from the original Icarus ship assigned to save the sun seven years ago.
Should they investigate the signal or continue directly with the mission? The final decision splinters the crew and shapes events for the rest of the film.

Fairly typically for director, Danny Boyle, an authentic veil of dread permeates the movie and expect some horrifying scenes as things go wayward - a little bit like Event Horizon but executed much better.
Aesthetically, Sunshine pays homage to Ridley Scott's Alien marrying up old-fashioned consoles with futuristic computers to give the film a timeless appeal. There is even a joke referring to Ridley Scott's opus that further cements the film's roots.
Sunshine also boasts the unquestionable talents of Cillian Murphy who successfully portrays a man devoted to duty and obsessed with the sun.

Blood Diamond

GRITTY socio-political thrillers based on real world events seem to be the latest phase in modern motion picture history these days.
And if films like The Last King of Scotland and Blood Diamond are anything to go by, we can all look forward to some deeply thought provoking cinema in the months to come.
But that's assuming this is to your taste because Blood Diamond is an extremely violent and provocative experience and hardly the material for a lazy Sunday afternoon.
The film chronicles, albeit in a slightly sensationalised manner, the civil war that engulfed Sierra Leone in the 1990s.
No holds barred, director Edward Zwick reveals the true devastation of the conflict.
A country torn apart, marauding rebels indiscriminately murder anyone who stands in their way and much of the population are forced to become refugees.
What's even more shocking is the recruitment of children to fight the war and this subtle portrayal of innocence lost is stunning.
Amid the conflict, a South African mercenary, played by Leonardo DiCaprio, a Mende fisherman, Djimon Hounsou, and an American journalist, Jennifer Connelly, are drawn together to recover a rare pink diamond.
Danny is motivated by money, the diamond is Solomon's ticket to rescue his family and Maddy wants to break the story that could end the conflict - diamond corruption.
It really is a film that makes you think and it is also very easy to sympathise with the struggling journalist who is trying to change the world for the better.
Although it could have been shorter - and DiCaprio's accent was a bit dodgy - Blood Diamond is a bold movie with an important message about war, greed and corruption.

Babel

EVERY so often a film comes along that shakes you to the core, transcending its cinematic format to say something brutally honest about the human condition.
The third instalment in a vague trilogy by director Alejandro Gonzalez Inarittu, Babel is the first movie in quite some time to come within a cat's whisker of such a feat.
Babel is the far-flung story of a poor Moroccan man who buys a rifle to protect his goats.
Entrusting the weapon to his sons, tragedy soon strikes when the reckless boys start taking pot shots at a passing coach.
Unaware of the danger, an American tourist is in the unintentional firing line and is hit by a stray bullet.
This accident has consequences throughout the globe and propels a group of people into a sequence of tragic events, which also gives the audience a unique insight into each of their lives.

The troubled American couple must take refuge in a dangerous Moroccan village and suffer the selfish whims of the other tourists who want to get back to their hotel.
Meanwhile, a nanny is crushed between her obligations to look after the couple's children for one more day as well as attending her son's wedding in Mexico.
On the other side of the globe, a Japanese man struggling to connect with his deaf-mute daughter is quizzed about his link with the gun used in Morocco.
This arc of the story has been criticised for only holding a tenuous link with the core plot and perhaps this holds some weight.
But this becomes irrelevant when the film is able to portray so excellently the frustrations, loneliness and isolation a deaf person could feel.
This is a hard-hitting film that will stay with you long after you leave the cinema and the last scene is absolutely haunting.

Smokin' Aces

IT'S 15 years since Tarantino burst onto the silver screen yet his indelible mark on modern cinema is still making its impact today.
Smokin' Aces is just one in a long series of copycat films that try to replicate the Tarantino formula but fall down flat.
The movie is about a Las Vegas performer-turned-snitch called Buddy Israel (Jeremy Piven) who decides to testify against the mob.
It then becomes a race against time as FBI agents try to protect their key witness while various assassins attempt to kill the snitch for a hefty sum.
Expect a gang of neo nazis, a pair of black hit-women and a master of disguise among many others who all face off against each other to get to the hit and the ensuing carnage is definitely the film's highlight.

Come the final half hour, the movie builds into its inevitable crescendo and, as the bullets start to fly, the death count starts to rise in some scenes, which are a little reminiscent of True Romance's epic and classic shootout.
In fact, it is fair to say that Smokin' Aces has some nice touches but it quickly becomes apparent that stylisation, clever editing, sharp dialogue and a star-studded cast have all taken precedence over a clear and coherent plot.
Put simply, writer-director Joe Carnahan was trying too hard and was not quite ready to graduate from the school of Tarantino.
Better luck next time.

Rocky Balboa

PAYING good money to watch a 60-year-old get pummelled by a man half his age just doesn't seem right does it?
It's all too easy to have this misconception of Rocky's final bout on the silver screen and admittedly those were my feelings when a friend dragged me along to the cinema.
Because, however unlikely it sounds, boxing plays second fiddle to the characterization in this sixth instalment of the Rocky opus.
Much time has passed since Rocky last left the ring and the retired champion now runs a popular restaurant.
However, Rocky's mind still lingers in the past and accompanied by his brother-in-law Paulie he drives around all the hotspots that used to mean so much to him.
Following the death of his wife, his dwindled boxing career and his troubled relationship with his son, the ex-champion feels washed out and some scenes have a convincing air of gloom to them.

When Rocky sees his opportunity to have another shot at the big time he is initially reluctant but eventually views it as something he has to do to redeem himself in his own eyes.
What's great about this film is that it works well when, by rights, it really shouldn't. Sequels like this are often little more than commercial venture to cash in on a popular franchise.
But in this case, Stallone has never been on better acting form and lends Rocky an effortless grace.
And, although perhaps predictable, the ending is a satisfying finale to a slice of Hollywood history.

Night at the Museum

LIGHTWEIGHT family comedies might not be the first cinematic choice for many people but this film sets the right tone for just after the festivities.
Night At The Museum tells the story of everyman Larry Daley (Ben Stiller) who must get some work fast in order to stop himself getting evicted and prevent disappointing his son for the umpteenth time.
Running out of options, Larry begrudgingly accepts a job as night watchman at the museum of natural history and soon realises that all is not as it seems.
It is a necessary but dull plot that sets the events into motion but is a bit frustrating when you're just itching for the action to start.
But when it does kick in it's an absolute feast for the eyes with everything in the museum, great and small, coming to life in a computer-generated spectacle.
Expect a skeleton tyrannosaurus, Attila the Hun, a tiny Roman Empire, Teddy Roosevelt and a miscreant monkey all running amok as Larry struggles to survive and do his job.
It is almost reminiscent of 1995's Jumanji but with more quirky humorous charm thanks to an outstanding, eclectic cast. Most noteworthy is Diagnosis Murder legend Dick Van Dyke as retiring night watchman as well as a sterling performance by Steve Coogan as Roman Emperor.
Ricky Gervais also makes an appearance as museum manager but his role is fleeting and a little disappointing.
Overall, Night At The Museum is too formulaic and fizzles out towards the end but younger viewers will really enjoy it.