'The Island President' Review

Film Title: The Island President

Starring: Mohamed Nasheed, Ahmed Naseem, Mohamed Aslam

Directed by: John Shenk

Our Rating: 4 stars

Argh! Climate change, we’re all gonna die! Well, actually some people in the Maldives might. Sorry to make it all gloomy but if, like me, you thought that climate change was just another thing happening in the world, then you should watch this; an insightful documentary about a man determined not to give in to the potential catastrophes of global warming.

Jon Shenk’s latest documentary, The Island President, charts the story of Mohamed Nasheed, the President of the Maldives. Having suffered torture, repeated imprisonment and solitary confinement for his opposition to authoritarian leader President Maumoon Abdul Gayoom, Nasheed finally brought democracy to his home country in 2008 and took on the role of President at the age of 41. Though he may have thought his darkest days were over it soon became apparent that they were only just beginning, as the real threat of climate change loomed over his low-lying island nation. The reality for the Maldives is this: with a sea level rise of just 3 metres the Maldives’ 1200 islands will become a modern-day Atlantis, submerged beneath the surface of the ocean with 3,000 years of history, culture and people lost.

The movie tracks President Nasheed’s first year in office, from his official appointment to the Copenhagen Climate Summit in 2009. Nasheed is a fantastic character. He is funny, delightful, cheeky and outrageously determined to get the recognition, help and cooperation that his nation needs to survive. Ultimately, he’s one politician you’re rooting for; maybe it’s because he’s the underdog, maybe it’s because he was beaten up so many times but often it’s just because he is honest, brave and has moral integrity.

Jon Shenk is, however, the unseen star of the movie. His cinematography set to the dulcet (if slightly gloomy) tones of Radiohead portrays the Maldives as a mythical nation, so beautiful it almost transcends itself. And that’s the point: the eeriness, the glowing blue water and tiny dotted islands are soon to become a thing of stories if the ocean is allowed to claim it over the next few decades. The golden sands and iconic exotic beach holiday images are tainted by the sandbags and diggers placed on the islands’ coastlines in a futile attempt to keep the waves at bay. It’s a harrowing reminder of the ease with which man can fall and of the grim fact that the next generation of Maldivian children could become the first environmental refugees, forced to leave their homeland

But it’s not all doom and gloom. Nasheed lifts your spirits with his warm humour and unrelenting will to solve the problem of climate change with the help of his practical team of people. Though the Copenhagen Climate Summit was seen by many as a failure, thanks to a rousing speech from Nasheed himself it was salvaged from complete disaster with an agreement that marked the first time that the United States, China and India had collectively agreed to reduce carbon emissions. The section of the film documenting the Summit is a rare glimpse into the realities of the political bickering that goes on behind closed doors. Nasheed is like the small kid with glasses (probably called Englebert) thrown amongst the big bullies, struggling to be taken seriously and ending up a little bruised when he attempts to speak up. But Nasheed has been bruised before; his appreciation for his democratic rights is enough for him to square up even to the Chinese in order to save his nation.

The message of Shenk’s documentary remains a serious one but its real triumph is that it’s not preachy. For those of us who live blissfully and ignorantly with the idea that recycling now and then is enough to save the planet, it does not set out to wag its finger nor badger us into a change of behaviour. Instead it simply and poignantly brings home the realities of impending climate disaster, in stark, vivid terms.

You don’t have to live in the Maldives to appreciate that losing your entire culture, your houses, your cinemas, your favourite park bench, is a terrible thing. Think of the uproar if Nelson’s column went under and we’d all have to up-sticks to Ben Nevis? This is the immediacy of the problem for a nation that’s already had its fair share of trials and tribulations to bear. Now, despite being led by a man who’s won numerous political and environmental awards for his work, it faces an even tougher and less forgiving adversary in the form of climate change. The Island President is not trying to change your mind, but it will. In any case, for the beautiful cinematography, the inspirational Nasheed and for a crash course on the little known history of the Maldives, this documentary is well worth a watch.

Please comment if you have anything to add to this review of 'The Island President'.

Also appeared on Best for Film (http://bestforfilm.com/film-reviews/drama/the-island-president/)

'Sarah's Key' Review: another Holocaust movie, but with a fresh heart

Sarah's Key (2010)

Directed by: Gilles Paquet-Brenner

Starring: Kristin Scott Thomas, Mélusine Mayance, Niels Arestrup, Michel Duchaussoy

Based on the much-loved novel by Tatiana de Rosnay, Sarah’s Key is a French drama that swings between 1940s Paris and the modern day to weave the tale of a young Jewish girl persecuted in the Vel’ d’Hiv, and the woman who finds herself obsessed with her story.

Ordered by the Nazis to reduce the Jewish population in occupied France in 1942, the French authorities went on a mass arrest; imprisoning thousands of French Jews in a Parisian velodrome under inhuman conditions. In Tatiana de Rosney’s fictional tale Sarah’s Key a 10-year-old girl named Sarah attempts to save her younger brother Michel before she is taken away; locking him in the closet and making him promise not to leave until she returns. When the prisoners are moved to concentration camps and split up, Sarah realises she must escape if she is to be in with a chance of freeing Michel.

Meanwhile in the present, an American journalist names Julia Jarmond (the ever-glorious Kristin Scott-Thomas) is beginning to research a piece surrounding the inhuman events of 1940s Paris. When she and her husband inherit a small flat in the city itself, she soon finds herself woven into young Sarah's story, unable and unwilling to free herself from it for reasons she can't decipher.

Sarah’s Key could easily be yet another WW2 movie, lost among the brilliance of such releases asThe Pianist, The Boy In The Striped Pyjamas and Schindler’s list, yet it manages to feel relevant and fresh. For a start, the Nazis are not the explicit enemy, and even though it is the French authorities that round up the Jews, even they are not the focus. The spotlight, rather, is on history; the past ebbing into the present, and how it is that those we have never known can change who we are. That being said, there are several moments that send shivers through your body, akin to looking at the piles of shoes gathered from Auschwitz victims or the miles of white headstones that mark the WWI battlefields. The unimaginable scale of the Vel’D’Hiv brought vividly to the screen, but first and foremost Sarah’s Key serves the needs of its story rather than of its emotive context – and is all the better for it.

Scott Thomas is in her element as Julia, and carries the present-day section of the movie strongly. She is let down by those let’s-get-the-history-straight moments in her editor’s office and those token we’re-young-and-ignorant characters that supposedly exist in order to conveniently fill in a historically-clueless audience. Ok, those scenes may be necessary (I’d never heard the details of the Vel’ d’Hiv) but sadly the script is never quite strong enough to do away with the faint air of pragmatism.

As for the young French actress, Mélusine Mayance, her performance as the determined and intelligent Sarah is beautiful and believable. She must quickly learn about the nature of her surroundings in order to make her ruthless return journey to Paris. As she grows into an adult, haunted by her past, that heightened misery never leaves her character – and this air is something that connects her to the equally determined twenty-first century Julia.

In a way that is necessary for films that deal with tragedy, Gilles Paquet-Brenner is unafraid of bringing the brutality of the events of the Holocaust to the forefront. It risks cliché but with sensitive acting and an absorbing storyline that weaves the past and the present so successfully,Sarah’s Key is far more than just a history lesson.

Also posted on Best For Film - http://bestforfilm.com/film-reviews/drama/sarahs-key/

Please comment if you have anything to add to this review of 'Sarah's Key'.

'Paul Merton's Birth of Hollywood' Review: because cinema deserves a history lesson

Paul Merton's Birth of Hollywood (BBC2, Friday 27th May 2011)

Starring: Paul Merton

Genre: Factual, arts, culture and the media

Paul Merton travels to America to explore and chart the birth of the most dominant cinematic power: Hollywood. He sets out to discover how the early movie technology, the people flooding to American shores and field after field of orange groves evolved into the star-studded community and billion-dollar industry of today. If you love going to our modern cinemas, why not immerse yourself in the history of how they came to be? Paul Merton's is a documentary complete with clips of the racist masterpiece that helped to re-establish the Klu Klux Klan and cheeky snippets of our beloved Charlie Chaplin.

For those with a taste for movies, many may have already studied the history of the moving image. Many of us, it remains to be said, will have not - Merton to the rescue. Cinema is an incredible art form that has advanced at colossal speed in the space of just one hundred years. It has developed from the haphazard silent wonders of The Great Train Robbery (1903) to the dazzling 3D spectacle of James Cameron's Avatar (2009). From the somewhat restrictive Kinetiscope, the first technology that enabled a person to look into its box and see a short film, cinema has become one of the most beloved and accessible arts of the modern age.

In this documentary, Paul Merton has selected the best of early cinema to explore and explain the transformation of a small Southern American hamlet into the iconic location of Hollywood. Intrigued by how a prolific orange-growing community could become the place-to-be for aspiring film-workers, Merton looks at the people responsible for its modern status. His often-cheeky approach to the old greats (let's face it, those jerky old films might have been impressive in their day but a man wrestling a dead bird is only ever going to be funny) celebrates the men and women behind and in front of the early cameras.

Thanks to the devastation of the First World War, the Europeans (the leaders in the development of early cinema) were prevented from going any further with their cinematic ambitions in the first part of the twentieth century. This made room for the Americans to lay the foundations for future of film. As it turned out, many of the most prominent figures were immigrants having left Europe to escape persecution and poverty. Paul Merton looks into their lives and careers and reveals to us how the roles of the director, cameraman, actor and producer began to take shape. This is a great documentary with access to an array of early footage that is as much a delight to watch now as I'm sure it was then. The bonus is, we don't have to sit through the initial three hours of ham-acting and brick fights to get to the best bits - Merton's done it for us.

Catch the next episode of 'Paul Merton's Birth of Hollywood' next Friday at 9:30pm.

Moving on up!

In the words of 90s sensation, M People - I'm movin' on up (in the world). I've been allowed to put pen to paper for another lovely blog - Best for Film (www.bestforfilm.com). Not only that, but they've now decided to put my ugly mug on there too. If you fancy taking a peak, the link is here:

http://bestforfilm.com/community/about-us/siobhan-burke/

I'm on page 2 of their community section - I think that's just about the best place to be. Well, it's better than being stuck on page 7 anyway. Click there to see some of my more recent reviews - including something involving Nick Clegg and a superhero gang (you know it'll be good).

They have lots of other cracking reviews and top notch film news stuff, so check em' out.

Top 10 things in film that you wish your eyes had never seen

So we all know some films are built to give us the heebie-geebies and some just make us laugh trying. But how many are there that have done it so damn well we’ve cried into our pillows a big slobbery mess? Some just touch a nerve and others damn well grab it, rip it out and floss with it in front of us. Let’s examine such masterpieces of cinematic goosepimply goodness – be warned, as the title of this article suggests, in reading this you risk psychological and physical disturbance of the highest order. Oh, and there may well be spoilers.

10 – That nose-smashing stunt in Pan’s Labyrinth

Written and directed by Mexican film-maker Guillermo del Toro, Pan’s Labyrinth was a gem of fantastical weirdness. It might have fairies and fauns in it but this is anything but a fairytale. Interweaving the real world with some really messed up critters, main girl Ofelia (Ivana Baquero) has to complete three tasks to prove herself a princess. In the midst of all this is her evil stepfather (that’s right patriarchs, evil stepfather in this one – deal with it) who one night stumbles across two farmers lurking about his land. Naturally he beats one in the face with a bottle – a few swift downwards motions and the nose will apparently completely collapse in on itself. Lovely job.

9 – The eye-melting in Resident Evil

So it might be based on one of those new-fangled video game malarkies – personally I’m still trying to complete Sonic the Hedgehog on Sega Mega Drive – but Resident Evil (the film) had many moments that made me go a bit gooey inside. And not the good kind. Top of the list is the moment when the man with possibly the uncoolest name in showbiz – Colin Salmon – gets lasered to oblivion. His name is much cooler in the movie – a guy called ‘One’ is surely not to be messed with – but that laser just don’t care who’s hip and who ain’t. Eye-slicing laser: one. One: nil.

8 – Lawrence sawing off his own foot in ... well, Saw

Ok, so you could have picked just about any moment from one of the Jigsaw’s games for this one, but let’s go with the original shall we? Before the franchise got so ridiculously out-of-hand that the producers deserve to play the game themselves. I for one am very attached to my limbs, both physically and emotionally, and anyone with the will and ability to chop off one of their valuable appendages is pretty bloody mad. Nevertheless, Lawrence (Cary Elwes) with his foot chained to the wall of a bathroom, suddenly fears for the lives of his wife and daughter and finds himself succumbing to the Jigsaw’s mind games. The image of him crawling his way to the door still haunts me. If there’s one thing I’ve learnt from him and Aron Ralston, it’s that young children motivate you to get hacking. Lesson: don’t have kids. Or even think about having them. Especially in canyons and bathrooms.

7 – Two-Face in The Dark Knight

Ok, so we all wanted to wipe the smile off Harvey Dent’s (Aaron Eckhart) oh so perfect smug little face, but none of us actually wanted to wipe off his face. Nevertheless, the powers that be dictate that he must be disfigured and that he must become Two-Face. Possessing that lovely burned quality, his eye remains (in a way that defies all laws of physics) intact. And it’s that freaky bulging eyeball that makes me squirm every time. Someone get this guy a patch.

6 – James McAvoy being hung à la pig in the back of a butcher’s van in The Last King of Scotland

Now, why anyone would want to punish a face so cheekily Scottish is beyond me, but Idi Amin was a nasty bloke and so James McAvoy’s Nicholas Garrigan must suffer. When Garrigan travels to Uganda to do good with his newly acquired medical degree, he finds himself taking a job as personal physician to dictator Amin. Safe to say, he does more bad than good and gets a lesson in tribal African culture when he is hung, by his chest, with rusty meat hooks and hoisted up to the ceiling. Yum.

5 – Harry’s heroin fix in Requiem for a Dream

The first of two films from Darren Aronofsky to hit this list, this is definitely not one to see with your mum. Not only will your own mind be scarred for life, but your mother’s opinion of you surely will be as well – especially after you convinced her it was an intellectually stimulating film about the unfortunate products of addiction. The moment where Harry, desperate for his next fix, injects heroin into his gangrenous arm is sure to finish off anyone with a weak stomach – which reminds me, it might be as well not to eat lunch whilst reading this.

4 – The girl in The Grudge

Need I say more? The eyes, the noise, the crawling down the stairs and frightening the living bajesus out of everyone – this girl almost destroyed the very fabric of my being. American remake of Japanese film Ju-On: The Grudge, this version stars Sarah Michelle Gellar as Karen Davis, who inadvertently finds herself wrapped up in a horrific curse. Let’s face it, we all could have done without this one on a dark winter’s night – but at least it provides a pretty easy dressing up option for Halloween.

3 – Natalie Portman’s skin-peeling antics in Black Swan

A more recent one to add to the bank, Natalie Portman’s Oscar-winning role as Nina in Darren Aronofsky’s Black Swan gave us appropriate swan-pimples. As if one unfathomable mind-bending moment wasn’t enough, this film gave us many, all equally as gross and brain-churning as the last – with the added bonus of a couple of lesbian encounters thrown in for good measure. However, the crowning glory was that deliciously grim skin-peeling trick she performed on her middle finger. With her teeth. Cue squeamish howls resonating round the cinema.

2 – The shower scene in Psycho

All hail Hitchcock for laying the foundations of fear in the cinema. Iconic sixties magnum opus, the master of suspense instilled the there’s-something-behind-the-curtain-aphobia in almost every film fan in the world – and that’s fact. Shot entirely in black and white, the silent approach of the shadowy figure on the other side of the shower curtain was the simplest and the greatest way to have you hiding behind the sofa. One of the best moments in heebie-geebie history.

1 – Spike’s bum in Notting Hill

I’m just kidding. Everyone knows we wanted to see those buns – ‘Nice. Firm. Buttocks.’

Care to slap us in the face with some more psychologically skull-bashing, spine-tingling, stomach-churning greatness? Let us know and share your nightmares with the world.

Review of '127 Hours': The most fun you can have with your clothes on

127 Hours (2010)

Directed by Danny Boyle

Starring James Franco, Amber Tamblyn, Kate Mara

Intense, gripping and just downright exciting - 127 Hours is the latest big screen venture by Danny Boyle, our much-loved, award-winning and cherished British director. Based on Between a Rock and a Hard Place, the biographical writings of American, Aron Ralston, this movie attempts to capture the horror of Ralston's famous accident. A keen mountaineer and general adrenaline junkie, Aron (James Franco) heads off to the Bluejohn Canyon on a typical adventure weekend. After a sudden fall, his arm becomes lodged beneath a boulder and Ralston has to fight for escape. Over 5 days Aron has to resist 'losing it' - rapidly running out of food, water and motivation this man has to rely on his lust for life to survive the terrifying ordeal. Oh, and he cuts off his own arm.

The opening of this film is brilliant. A Free Blood track explodes onto the screen with the vivacity and energy of Ralston's own character. The screen buzzes with modern city scenes, inescapable busyness - all the better for highlighting Aron's solitude, my dear, and the vast, awesome expanse of uninhabited canyon land that our man will eventually find himself trapped in. Lovely set up. We're kept on edge waiting for the crucial boulder moment - he trips, he slips but it's a little while before the fatal moment comes.

Franco's performance is incredible. It's one thing to have to hold a film almost entirely on your own, it's another to do that whilst you're stuck in a canyon with only one arm free. Aron's video camera allows him to revisit the regrets of his past, leaving tributes to the friends and family that he becomes prepared to leave behind. Franco beautifully delivers the frustration and desperation of Ralston's character - even though he is trapped, he is electrifying to watch. Ralston himself said in an interview, 'we have these very fundamental desires for freedom, for love and for connection. And that's what got me out.' And it's those fundamental desires that are impeccably communicated by James Franco.

Of course, we have to mention the fantastic show that is Ralston amputating his own arm. The pain and the determination are accompanied by an incredible score by A. R. Rahman that make it unsettling but not gruesome to watch. While you might find the uncontrollable urge to look away, you probably won't. We're with Ralston to the end, that means seeing the whole thing through - even if it makes you feel a little queasy.

I love this movie and it's a shame that Franco and Boyle have to live in the spectacular shadow of The King's Speech. Don't get me wrong, I loved Tom Hooper's movie as much as the next man, and I certainly harbor a more than unhealthy love for Colin Firth. However, I find myself sitting in Camp Franco for the Lead Actor Oscar and hope the film scoops some recognition at the awards. If you haven't seen this film already and you're looking for a thrill (well, the closest you can come without endangering your own right arm) then make a date with 127 Hours.

Please comment if you have anything to add to this review of '127 Hours'.

As it's February...

... why not come up with a new idea? Yeah, I know that's not really a popular saying or even anything that might have been said before but as it's the beginning of the month(ish), I thought I'd start something afresh.

So, whilst having a leisurely chat with my friends the other day, I realised there are some fundamental movie-geek films that seem to have unwittingly passed me by. Don't panic - I've seen Star Wars. Things like The Godfather and The Italian Job - those movies that everyone quotes incessantly and that have become ingrained into our consciousness so deeply that they might as well be a part of us. I almost feel like I have seen them. But I haven't. And this must be fixed.

Here I vow each week henceforth to pick up and watch an iconic movie that I should have already seen. I'm not just gonna stick to the old codgers of the past, in fact I'm going to start with something from last year: A Single Man.

Directed by Tom Ford, A Single Man stars man-of-the-moment Colin Firth as British college professor, George Falconer. Yes, he's called George in this one too! A dark tale of a man haunted by the death of his soulmate, this film was tipped for all sorts of awards with Firth putting in an Oscar-worthy performance. Unfortunately, he was beaten - but he did win the BAFTA for Best Actor for this role so it can't be all bad. Described by Empire as 'a potent cocktail of style and substance' this was clearly a foolish film to have missed.

Excuse me while I add this notch to my cinematic bedpost.

'The King's Speech' Review: Oscar-tipped, hugely anticipated, a big deal

The King's Speech (2010)

Director: Tom Hooper

Starring: Colin Firth, Geoffrey Rush, Helena Bonham Carter

Haven't heard about The King's Speech? Well, unless you've been hiding under a rock for the last few weeks, of course you have. From the Oscar-worthy performance of Colin Firth to the touching delicacy of Tom Hooper's direction, The King's Speech is just about the most talked-about film of the moment. The story of King George VI as he tries desperately to overcome a crippling speech impediment, it might not seem like the most likely tale for a blockbuster movie. But this is one film certainly worthy of its regal hype.

The scene is the late 1920s and King George V is on the throne. However, second son Bertie (Colin Firth) and his wife, Elizabeth (Helena Bonham Carter), Duke and Duchess of York, are fully in the public eye doing all things Royal. However, thanks to Bertie's painfully bad stammer, public speaking is a nightmare for both him and his audience. Determined to cure him, Elizabeth approaches Lionel Logue (Geoffrey Rush), a less than orthodox speech therapist and from the moment he meets the Prince, so begins an odd, often turbulent, relationship. Soon to be a loving friendship.

Hooper kick-starts the film with a disastrously embarrassing speech from Prince Albert - struggling to get through the first sentence, it's like watching a child at their first nativity forget the one line they spent weeks learning ('No room at the inn' - obviously). It's heartbreaking and you're instantly on the side of team supreme, willing Bertie to get out his words. Nevertheless, the humour card is also played pretty swiftly in a scene involving Colin Firth with balls in his mouth - priceless. The film continues along these same lines, mixing emotional frustration with some good old fashioned one-liners - no mean feat when you consider our hero takes that bit longer to get to the punchline.

Firth, as predicted, gives us the performance of his career. Maintaining a regal strength and willingness to overcome the obstacle, there's also the ordinary human frustration, the lack of self-esteem, the loving family man and the prince fearful of looming responsibility. Bertie's brother, David (Guy Pearce) is a sort of mini-villain (ish) in that he seems determined to shunt Kingship onto his younger brother just so he can marry twice-divorced American, Wallis Simpson (Eve Best). But Bonham Carter's Elizabeth is the perfect proverbial rock to the stumbling Bertie.

Bonham Carter and Rush carry much of the film's humour. Bonham Carter's timing is impeccable and that well-to-do accent has never suited a character so well. Rush's Lionel Logue is warm and loveable and anyone who can make a royal swear so elegantly has a glorious thumbs up from me. Of course with the abdication of Edward VIII, comes the realisation of Bertie's horrors and some of the more moving scenes of the film follow as we get ever closer to Bertie's coronation as King George VI.

Since seeing the love for this film at the BFI London Film Festival in October, this has been on everyone's cinema wish list. Beautiful, sensitive and heart-warming, rooting for a royal has never been more fun in a story so wonderfully depicted. For Firth's performance, for Hooper's elegance and for all round great British drama, this is an easy 5 stars. Lovely.

Please comment if you have anything to add to this review of 'The King's Speech'.

Happy happy happy

So, recently Fate has dished me out 3 healthy doses of good luck.

Number 1 - my online Asda shop showed up late. Doesn't sound lucky? Well, they refunded my order AND delivered my goods. And free shopping definitely is.

Number 2 - I dropped my bagel on the floor and it landed butter side up! Maybe the toast rule doesn't apply to bagels?

Number 3 (and this is the best) - I won a prize!

Courtesy of Jameson Cult Film Club on Twitter (@JamesonCultFilm) I have won this:

Whiskey, hoodies and movies - what student wouldn't be happy? So, I'd just like to take this opportunity to share this with you, dear readers, and to thank Jameson Cult Film - I mean, Psycho on Blu-ray? You have seriously excelled yourself. So thank you on this blustery day for providing me with something to keep me warm and tingly - don't worry, I'll make sure I wait til midday before I take a sip with Hitchcock.

A day at the festival

54^th BFI London Film Festival

Thursday 21^st October

There’s nothing like a new movie to get us film lovers all a-jitter – so imagine the hype when the BFI London Film Festival comes to town. Now in its 54^th year, this festival showcases the best in new cinema from across the globe, mixed with Q&A sessions with writers and directors as well as whole host of other movie-based experiences. With film screenings open to all, it was almost impossible to resist hopping across to the Capital to catch a glimpse of the festival in action.

I headed to Leicester Square where I was booked to see Another Year, directed by Mike Leigh of Secrets and Lies fame. The film stars Jim Broadbent (Hot Fuzz) and Ruth Sheen (Vera Drake) as Tom and Gerri (and yes, the link to the cartoon is picked up on), a kindly couple heading for old age. As the title suggests, the narrative takes place in one year, specifically focusing on the events of each season – carefully tracked via the couple’s allotment.

The film is a beautiful one, with many moments hilarious and others incredibly uncomfortable to watch. The final image of Mary (Lesley Manville) is one that Leigh forces upon us for an unnatural length of time ending the film on a melancholy note. The movie deals with social insecurity, loneliness and deep dissatisfaction with life. But, it’s not all doom and gloom – to counterbalance the rather depressive outlook on life, there are many moments where love, stability and friendship prevail.

Broadbent’s performance is natural and warm, but Sheen’s is somewhat more stilted. Manville is impressive in the role of Mary, so much so that she’ll have you both loving and hating her character. Try loving her – she deserves it really.

After the screening, Mike Leigh came in to the auditorium for a quick Q&A. The conviction with which he defended the motives of his work was inspiring. All of his films are created through a process of improvisation, essentially starting with little more than an idea but ending up with a very precise script. This film is no exception – it allowed Leigh to explore both loneliness and togetherness as well as the ‘tragedy and the reality’ of those who are simply lucky or unlucky.

Ultimately, this film won’t be to everyone’s taste, but if you like an honest, gentle depiction of daily life, this one’s for you. Plus, Mike Leigh fans will not be disappointed.

So that brings me to my final experience – seeing the stars. It’s common knowledge that if you see the red carpet rolled out in Leicester Square you don’t just walk past it. No, you jam yourself against the nearest barrier and take photos of every tinted-windowed car that pulls up as it might just be someone famous. As luck would have it, 21^st October was the London premiere of The King’s Speech, directed by Tom Hooper. Starring Colin Firth as King George VI, the movie tells the touching true tale of a monarch overcoming a crippling speech impediment during the turbulent times of World War Two. With the likes of Helena Bonham Carter and Geoffrey Rush starring alongside Mr Firth, the red carpet was well and truly star-studded. The King’s Speech is due to hit cinemas in January and there are whispers of Oscar nominations a-plenty, so it’s definitely one to watch.

The whole afternoon was an atmosphere to remember – a real melange of students, movie lovers, actors and directors all turning out to celebrate truly great film. It’s an arty atmosphere, without feeling too pretentious, and I can safely say that I have never before been to a cinema where I have overheard one man introducing his friend to another as ‘the man who directed the film’. If you didn’t get a chance to go to this year’s BFI London Film Festival, pencil it into your diary for next year – it’s an event not to be missed.

Please comment if you have anything to add to this report on the London Film Festival.

I think I died a bit...

So, on Thursday (yes, it's taken me this long to get over it) I saw actual Colin Firth in the flesh. Ok, so I was forced to remain behind a steel barrier for the duration of our meeting, but I still like to think we had a connection.

To put this meeting into context, I was in London for the 54th BFI London Film Festival to see Mike Leigh's new film, Another Year. There was a bit of Q&A with said director, enlightening, and then (like all good film/Firth lovers) I hung around Leicester Square to await the arrival of the stars.

It was the première of Tom Hooper's The King's Speech, a movie telling the touching tale of how King George VI overcame a crippling speech impediment. With the likes of Helena Bonham-Carter and Geoffrey Rush sharing the screen with Mr Firth, it was fair to say there was a decent crowd lining the edges of the red carpet. It was an awesome and an odd experience. It just feels a bit peculiar to find out those of the big screen are actually normal-sized humans and that they do in fact mingle with normal folk from time to time.

Naturally, I will be reviewing Another Year in the coming week, but unfortunately, The King's Speech isn't out til January. My good friend Colin looks set to be nominated for an Oscar for it, though, so it's well worth scheduling into your cinematic diary.

Just a little note to self: must remember not to be so star-struck when am hot-headed journalist allowed to mingle with popular people. Something I still maintain will happen in the future.

The Minister for general mayhem

Classic Film Review: Michael Collins (1996)

Directed by Neil Jordan

Michael Collins the man was one of the most iconic heroes in Ireland’s troubled history. Developing extremely successful guerrilla tactics, instilling fear in the British as the man responsible for ‘gun-running, daylight robbery and general mayhem’, his campaign eventually led to the negotiation of the Anglo-Irish Treaty in 1921. However, as the man who signed the Treaty, which allowed the partition of Ireland, Collins was regarded as a traitor by those that opposed the agreement. Eventually, this led to Michael Collins’ assassination.

Neil Jordan’s film tells the incredible story of Collins and the IRA from the Easter Rising in 1916 through to the statesman’s death. Oscar and BAFTA nominated, Michael Collins is a beautiful and dramatic piece of cinema and you don’t need knowledge of Irish history to enjoy it. However, upon release the film was subjected to wide criticism. Historians claimed the film was inaccurate, whilst British critics condemned the violent depiction of British auxiliary soldiers occupying Ireland. Nevertheless, the film was a huge success in Ireland and became quite a public affair as calls for extras were met with thousands of Irish people eager to re-enact their past.

The cast of the movie is undoubtedly star-studded. Liam Neeson produces an electrifying performance in the title role, which earned him the Venice Film Festival Best Actor Award. Unusually, Jordan didn’t exclusively use Irish actors for the starring roles, with Aidan Quinn and Julia Roberts swapping their American accents for surprisingly convincing Irish ones. Unfortunately, the same can’t be said for Alan Rickman. Whilst his performance is fantastic as the almost anti-heroic Sinn Fein leader, Eamon de Valera, his accent leaves a little to be desired. Julia Roberts could also be considered an odd choice for this movie as amidst the rough Irish backdrop she oozes Hollywood glamour. Nevertheless, you can’t deny that she provides a great onscreen character as Kitty Kiernan.

Michael Collins is dark, perfectly capturing the gloomy, perilous and troubled times of early twentieth century Ireland. Borrowing elements of the gangster genre, the movie shows uncompromising, raw violence mingled with political struggle. From the assassination of Irish officials to jailbreaks and the murder of innocent civilians, the lifetime of Collins was filled with death and destruction. However, the violence condoned by Collins is all in pursuit of peace and the establishment of a new, free Ireland.

Regardless of historical inaccuracies, Jordan’s film provides an insight into the man behind the Irish Free State, the IRA and the shaping of some of Ireland’s most significant historical moments. Dramatic, passionate and dangerous, Michael Collins is a movie to remember.

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The feel good power of the 70s

Cemetery Junction (2010)

Directed by Ricky Gervais and Stephen Merchant

The scene is 1970s Reading, where three young men must face the (not so grim) reality of growing up. Bruce (Tom Hughes), bitter about his family and embracing youth, occasionally clashes with the more ambitious Freddie (Christian Cooke) whilst the kooky Snork (Jack Doolan) completes the young trio in this brilliant coming-of-age drama. Mixing comedy with the frustration of being stuck in a dead-end society, this is the ultimate feel-good film of 2010.

When Freddie tries to break away from the factory trade, he takes up a job as a life insurance salesman under the guidance of Mike Ramsay (Matthew Goode). His feelings towards the job are complicated by his moral principles as well as his love for the boss's daughter (incidentally Mike's fiancee). Best friend Bruce vents his frustrations at his parents' divorce with girls, booze and fighting, which sees him hurting himself and those around him. Together with Snork, the pair are polar-opposites but gel well to create a great comic duo with the funniest lines of the film.

The snappy, dry and hilarious dialogue has an obvious Gervais/Merchant flair, but (and speaking as no fan of Ricky Gervais) it comes alive through the young actors in a way that distracts from its well-known writers to embody its own wittiness and humour. Together with a great 70s soundtrack, this film gets the idealistic image of youth just right - it is touching and human, managing to ditch the cheesy element that some coming-of-age dramas just can't shake. Filled with fabulous moments of cringe-worthy mistakes, frustrating silences and heart-warming friendships, this movie creates a bit of nostalgia for the youth we sometimes leave behind.

As far as the 70s culture goes, Gervais and Merchant only scrape the surface of what life was like back then. The backdrop is clear enough with casual racism a common occurrence in the company of Freddie's family and the social expectations of 'get married, buy a house and have kids' at the forefront of the young minds. Although it doesn't go any further than this it doesn't have to. More poignant moments come at the insurance company's work party, which paints a heart-breaking image of unrewarded old age, snippets of stale youth and the dead-end world of an almost forgotten wife. Ralph Fiennes shines here as Mr Kendrick, boss of the insurance firm and ultimate slimy, ungrateful wotsit.

Gervais and Merchant have their on screen moments - Gervais as Freddie's factory-working father and Merchant as another employee of the Kendrick insurance firm. Both are funny in their small roles without stealing the limelight from the three main actors.

There is a definite carpe diem feel to this film that will make you leave the cinema wanting to drop everything and do something. Full of heart-breaking and heart-warming moments that will make you want to laugh and cry, this movie hits all the right notes when it comes to coming-of-age drama. With exceptionally likeable characters, a predictable but well-written narrative and more male eye-candy than you can shake a stick at (I promise girls, they are perfection) this refreshing comedy can and will be enjoyed by everyone.

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Almost Wonderful Wonderland

Alice in Wonderland (2010)

Directed by Tim Burton

Tim Burton's latest project sees the now 19-year-old Alice returning to Wonderland to fulfil her dreamy destiny and defeat the Red Queen. In true Burton style, it is weird, wacky and wonderful, full of imaginative treats to satisfy any fan. This film was set to be a hit with its star-studded cast and much-loved director, as well as being one of the many 3D movies now hitting our screens - however, for all it's CGI beauty and wonderful performances, I couldn't help but feel a bit let down by this one.

Based on the books by Lewis Carroll, the plot is simplistic and can be summed up pretty swiftly. Grown up Alice runs from a marriage proposal put to her by a weirdo aristocrat. She follows the White Rabbit (again), falls into Wonderland/Underland (again) and walks around meeting more familiar faces until she takes up her role as 'Champion' to defeat the Jabberwocky. The plot is also what makes the film feel just average - where it captures Carroll's visual imagination, it lacks his wacky story-telling. There's nothing spectacularly unique about Burton's version of the story, we always know where it's going and it seems that this film is just a showcase of talented acting and clever design.

That said, the acting is worth showcasing. Helena Bonham Carter is stunning as the spoilt Red Queen, her digitally bulbous head making her fantastically and weirdly frightening. Anne Hathaway is equally as charming as Bonham Carter's counterpart, the White Queen, bringing a bit of humour to this otherwise 'oh so nice' character. There is obviously the fabulous Johnny Depp to keep us entertained as always, the perfect image of the Mad Hatter (though there are many similarities with Pirates of the Caribbean's Jack Sparrow). The recognisably wise voices of Alan Rickman and Stephen Fry complete the picture and their familiarity and talent alone is enough to make you want to love this film.

But there's just something about it that makes the whole movie feel a bit stop-start. Rather than following Alice, we seem to jump from famous face to famous face and enjoy them each a little bit at a time. The ending is nothing spectacular and everything about the film that is to be commended was inevitably going to be so. Although you can't knock the talent behind such a film (the CGI is seamless and creates some fantastic visuals) perhaps it's time Tim Burton challenged himself by making something a bit more fresh-faced... you know.. with a few fresh faces.

Of course, this Disney picture makes for some good family viewing with a series of goodies and baddies to entertain. Nevertheless, a poor script and often a lack of excitement plague the film as a whole. Three stars makes this movie worth watching, but you could afford to wait for the DVD. Whether 3D or 2D, this film remains the same - and that is simply average. It will satisfy the fans of Burton's unique creativity but it just needs a little bit more story-telling 'umph' to make it a great film.

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No ordinary superhero, no ordinary movie

Kick-Ass (2010)

Directed by Matthew Vaughn

With the hype surrounding Kick-Ass, I had pretty high expectations of this ‘comic-book movie with a difference’ – an ordinary boy taking on the world in a wetsuit, Nicholas Cage in a comedy and a young girl that has no qualms with bad-ass murder and the ‘C’ word had better be entertaining. Safe to say, I was not disappointed.

As teenage vigilante Dave Lizewski (Aaron Johnson) tries to tackle the bad guys, fighting crime and teenage desire all in one day, he ends up getting caught in a vendetta that takes his superhero-ing way outside of his normal business hours.

Kick-Ass follows Dave, who is, as he explains, not the funny one, not the geeky one, not the popular one, but in the usual high-school style, completely invisible to girls. He wonders why anyone who hasn’t been bitten by something radioactive or fallen from space has never tried to become a superhero. So, he orders a nice green and yellow lycra number from the Internet and goes out in search of some crime.

Now, as we all know, no one has ever tried to become a superhero because a) it’s dangerous and b) it’s hard. So after a run in with some proper violence (a knife and a car to be precise) Dave returns with metal plates and damaged nerve endings to become the Kick-Ass that actually kicks ass – well, sort of.

No review of this movie would be complete without a mention of Hit-Girl (Chloe Moretz) and Big Daddy (Nicholas Cage). The father-daughter duo are responsible for the best scenes of the film for both dialogue and the infamous violence. Big Daddy is out to avenge his wife’s death by destroying the corporation of Frank D’Amico (Mark Strong) and killing everyone that is a part of it. He has trained up his 11-year-old daughter, Mindy, to become Hit-Girl and together they wreak havoc on the biggest villain of the town. Foul-mouthed Hit-Girl is a great on screen presence with stunning comic timing, insane talent with a knife and two of the best killing sequences of the film, one of which is done in strobe lighting and is, in every way, the meaning of ‘cool’.

This movie is obviously conscious of the comic-book films and superheroes that have gone before it – Big Daddy, is practically Batman remodelled and Dave’s metal plates are clearly a nod towards Wolverine. But that doesn’t make it bad. Vaughn sticks these references in to good effect, reminding us of all the great superheroes that we love and just how weedy, yet so heroic, Dave’s Kick-Ass really is.

The second half of the film definitely rules over the first, which sometimes feels a little slow – but that’s not to say that the build up is boring. There are some great comedy moments between Dave and his friends, and remarks from Hit-Girl are even funnier. Plus, it wouldn’t be a comic-book movie without the romance, and so the story occasionally abandons Kick-Ass to follow Dave and his dream girl, who, believing he is gay, allows him to do things that he could previously only dream of. So, despite the awesomeness of Hit-Girl and Big Daddy, Vaughn ensures you always want to follow Kick-Ass by reminding us that he’s just ordinary – a standard hero, fighting crime, but always home in time to get a good eight hours before school.

This film is awesome, insane and offers moments to make you wince with stunning and stylish violence that (unlike as some people would have you believe) doesn’t make you want to pick up your mum’s bread knife and start throwing at people. Sleek and cool but with that element of the real that other superhero movies lack, this is one to see.

(4 Stars)

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Nothing to Declare - Except a Great Film...

Up in the Air
Directed by Jason Reitman, 2010.

From the director of the much loved, Juno, comes Jason Reitman's next popular project, Up in the Air. Featuring the suave George Clooney alongside Anna Kendrick and Vera Farmiga, this story of life with no baggage, emotional or otherwise, is a telling view of a modern world where 'moving is living' and staying grounded just isn't an option.

Ryan Bingham (Clooney) is a corporate downsizer, ie. he fires people for a living. He spends 99% of his time in the air and on the road, carrying all he needs in one small, wheeled suitcase. He has no friends, his family have seemingly given up hope of seeing and contacting him and the executive lifestyle of every travel and accommodation loyalty programme is all Ryan needs. However, when new technology and a high-flying, rising star of the corporate downsizing world threaten that perfect lifestyle, Bingham is forced to confront what life might be like on the ground.

This film is a gem of entertainment, with excellent acting to suit a brilliant script alongside the quick cuts and slick directing of Reitman. The witty dialogue between the characters provides a smooth ride through this realistic setting and the humour that is undoubtedly needed to balance the bleak reality of Bingham's lifestyle.

Ryan is clearly a character made for Clooney - only he could convince us that the itinerant life of a corporate downsizer might be a good one. His good looks and smooth speech create a sympathy for what is ultimately an isolated character. Anna Kendrick also excels as the young Natalie providing a witty counterpart to Bingham. The two characters create the perfect balance between old and young, man and woman, the emotionally attached and the detached. With only a loose storyline actually driving the film forwards, it is these two, as well as Farmiga as Alex, that keep us watching on, waiting to see how their lives pan out in relation to one another.

Cinematically, this film is beautiful - a great soundtrack mixed with well-edited shots that highlight Bingham's corporate lifestyle come together for some great viewing. The acting can't be faulted, and with some great cameos interspersed, you'll be hooked on the dialogue alone. The love story is unconventional and the storyline feels like a snippet of reality rather than the traditional beginning, middle and end - but this doesn't mean a bad movie. Up In the Air will leave you thinking about what is important in life and contemplating whether those things that 'tie you down' are really keeping you grounded - ultimately, it'll leave you with that cliched 'fuzzy feeling' that you've just watched something different, something great and something cinematically fresh.

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Souped Up Superheroes Don't Have to Be Such a Bad Thing

Sherlock Holmes

Directed by Guy Ritchie, 2009.

So Arthur Conan Doyle's hero has been re-made and put on the big screen once again - but has this modern, mad and quick-witted detective got a bit carried away, getting too close to the Bond and Batman scene?

Sherlock Holmes' (Robert Downey Jr) latest adventure sees him and his pal Dr Watson (Jude Law) facing the lecherous Lord Blackwood (Mark Strong) who uses apparent supernatural powers to spark fear and panic in the Victorian British public. Holmes' powers of logical deduction take him right across the murky depths of London, battling a French brute, chasing a ginger dwarf and trying to resist the temptation that is Irene Adler (Rachel McAdams).

I for one think that the central partnership is one of the best of recent years. A notoriously wooden Law unexpectedly steps up brilliantly as the dashing and reliable Watson to contrast with the madly intelligent attitude that comes with Downey Jr as Holmes. The two fit together like two pieces of a puzzle bickering in the way old friends do but nevertheless unfailing in their friendship. It's also nice to see an intelligent, controlled Watson rather than a dithering fool who seemingly can't grasp Holmes' brilliant ways.

However, there is the inescapable Ritchie flair about the movie, with a similar folky score, slow-motion explosions and bare-chested brawls that have become this director's signature. Surprisingly, not all of it seems out of place. The intensity of Watson's close shaves, and Sherlock's sticky situations keeps the pace of this film, which is ultimately an introduction to further films.

Hans Zimmer's score was also a highlight of the film. A perfect mix of scratchy violins and honky-tonk piano to match Sherlock's quirky disposition as well as the mucky underworld of the Victorian setting. It made the action more gripping as well as creating a unique sound for this unique Sherlock.

The film is long, but definitely doesn't feel it, and yet there is plenty of room for further development both with character and plot. Downey Jr brings fun and excitement to Sherlock's character and Law provides a brilliant counterpart, but the female aspect of the film is weaker. Irene Adler remains an ambiguous character and her relationship with Holmes is unclear, but she adds another dimension to the detective that will be better developed in the movies to come.

Overall, this film is a must-see. So it's a souped-up version of the original detective, but that does not make it a bad movie. It's exciting, visually entertaining and shows an impressive cast at their best. It might have the Ritchie flair, but it has all the qualities of a Hollywood blockbuster too - I'd happily count the Victorian detective amongst some of our most exciting superheroes, even if there isn't anything superhuman about him. Ultimately, he's brilliant, and really that's all that counts.

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A Pleasant Surprise

The Proposal (2009)
Directed by Anne Fletcher

Oh look, another romantic comedy. Good looking girl falls in love with (very) good looking guy, a few hiccups on the way but all's well that ends well and you get your happily ever after - just about. I'm not denying that The Proposal brings nothing new to this genre, but this one actually lives up to it. It's romantic, it's comical, and it's just downright entertaining.

When vile boss Margaret Tate (Sandra Bullock) discovers she is being deported thanks to an expired work visa, she forces her assistant, the lovable, Andrew Paxton (Ryan Reynolds) to marry her. A family engagement of Andrew's takes them both on a weekend of fun and games in Alaska, where the two are forced to spend time together and get to know each other a bit better.

Obviously, there are a few cringeworthy and slightly unbelievable elements to this film - the wedding is brought forward to the current weekend, Margaret's parents are both conveniently dead, so there's no objections there, and once again in American comedy, the two both work in a high-flying New York publishing house. Why is that always the case? Nevertheless, this comes with the territory and when you buy a ticket to see a romantic-comedy, you've got to expect it.

The delight of this film lies in the actual comedy. I went in a skeptic. Having seen the trailer, I thought I'd pretty much seen all the jokes and I was pretty certain on the outcome of the film so I didn't have high expectations as a whole. Perhaps this worked in its favour. Either way, this movie is full of great, slapstick humour, classic one liners and two lead actors that never fail to amuse.

Sandra Bullock is on form as super-bitch, Margaret, as the Alaskan countryside, and the imperative to be nice play against her. Ryan Reynolds is equally funny as he milks the opportunity to get even with the woman who has made his life hell.

Ok, so there is nothing dramatically different about this rom-com, no cinematic genius or twist in the storyline. However, this movie does what it says on the tin just perfectly. I was laughing for so much of the way through - genuine laughter too - and the whole thing is just enjoyable to watch. Finally, The Proposal has brought the feel-good factor back into this genre, where so many of its recent predecessors have failed.

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The Fresh Face of Comedy

The Hangover (2009)
Directed by Todd Phillips

The story of a stag do gone horribly wrong, this film is, in my opinion, the best comedy of 2009 to date. Far from the repetitive, comedies of recent years this movie brings fresh faces, great one-liners and a new style of comedy altogether to the 21st century.

The film stars Bradley Cooper (Phil), Ed Helms (Stu) and Zach Galifianakis (Alan) as three guys desperately trying to remember the events of the previous night in Vegas. Hungover and confused, their journey takes them on a hilarious trip around the city, as they attempt to find Doug, the groom-to-be. From babies to strippers, tigers to Mike Tyson, the guys find themselves in awkward and bizarre situations all thanks to a heavy night of booze and babes.

Although Cooper, Helms and Galifianakis have been seen on the big screen before, this is the first time they have been seen together as the principal actors. From the weird and quirky Alan to the cool, smooth Phil, the three characters gel unbelievably well, despite the diverse personalities. There was a danger of creating classic and cliched characters - the cool, popular Phil meets geeky Stu and token freak, Alan. However, the men's relationship is far from it. This is not another teen movie, it's a mature approach to a crazy night of alcohol, and the humour is drawn from something different.

This comedy is great and has the audience laughing from start to finish. The humour appeals to the masses - both the young and the old, male and female. There is nothing offensive or overtly crude and none of the random humour of Anchorman or the perhaps immature laughs had from Superbad. This is pure fun, and Galifianakis' impecable comic timing with unintelligent one-liners is fantastic.

This film is funny because it's believable, because we've all had a night similar, if on a (hopefully) more minor scale, and because this is something new. Gone are the cliches and the loose plot lines and in their place is some heart. You pray the guys will get to the wedding, and finally on their return from Vegas, you witness them in their ordinary, grown-up lives. It's a reminder that we're all capable of doing something (maybe two or three things) a bit stupid.

My only criticism of the film is the Chinese, gay, gangster, kung-fu (anything else?) character. Most guys I've spoken to have found him hilarious, girls just don't see the point, and I guess I'm one of them. I didn't laugh and I found him a bit pathetic. He was a very odd aspect of the film (though very little of it can be deemed 'normal') and definitely the weakest. Any other style of character could have served the purpose of his role just as easily and, unfortunately, he's just not that funny.

Nevertheless, this is undoubtedly a must-see film. Don't wait for the DVD to come out - make the most of the big screen and watch it in the cinema. Let Phil, Stu and Alan live out your irresponsible fantasies and enjoy the consequences.

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The Modern Way to Win a Woman

Run, Fat Boy, Run


Directed by David Schwimmer

Dennis (Simon Pegg) is your average bachelor; not in perfect shape, living in a filthy environment, and alone. He is satisfied with a career as a security guard in a women's lingerie shop (which seems to attract criminal transvestites) and regularly forgets his keys, says things he doesn't mean and embarrasses himself in front of the one woman he aims to impress. Run, Fat Boy, Run is the story of this typically useless man as he attempts to win the heart of his former fiance in a not so traditional way.

This film should be credited for its simplicity, its realism and for the completely down-to-earth approach that the director takes in producing a typical romantic comedy. Filled with your regular stereotypes (beautiful lady, worthless single father, stuck up (yet attractive) romantic opposition) they are unusually played with unique and believable character.

Dennis, having left his fiance, Libby (Thandie Newton), five years previously, decides that he is going to run a marathon in order to prove himself to her. Her new boyfriend, Whit (Hank Azaria) is toned to perfection, trained both physically and mentally, and yet slightly flabby Dennis is determined to run alongside him. With the help of a friend, he accidentally earns himself a charity entry, running for Erectile Dysfunction Awareness, and with a pair of skimpy shorts and a flash pair of trainers bought him by his landlord, he sets out to train in just two weeks.

Does he manage it? Why, of course. With a few minor hiccups, it is obvious from the very start that the low-life, part-time Dad will run and achieve his goal with the image of lady and son in mind. It is these elements of predictable cheese that make it of the romantic comedy genre. However, Schwimmer gives it a unique and realistic edge by ensuring girl and boy don't quite reach that happily ever after - men need to know that running miles for us on a whim won't make us theirs forever! There is also a good range of British humour; admittedly a few awful moments where the humour completely fails. Yet, the impressive performances of Pegg, Azaria and Newton make up for it, as well as the good range of music to go with it. If I were to rate the film out of 5, I'd grant it a satisfactory 4. It's an entertaining film, with a good portion of British humour with the always-loveable hopeless pursuit of romance by a not-so-perfect man.

However, if I were to have one complaint, it would be the rating; rated 12, it should, in my opinion be rated 15. There is frequent bad language (which I am aware 12 year olds have no difficulty in using) and some sexual references that I was quite discomforted by knowing there were young people surrounding me. Yet, I suppose I should ultimately leave it up to the experts to decide. So, on a lighter note, if you can think of no other reason to go and watch this film other than Hank Azaria talcing his unmentionables, let that be it. It will no doubt entertain you, and if you are a Simon Pegg fan, it won't let you down.

Please comment if you have anything to add to this review of "Run, Fat Boy, Run".