THE HOBBIT: THE BATTLE OF THE FIVE ARMIES

Basically…

In the third and final instalment the dwarves have to defeat Smaug the dragon (Benedict Cumberbatch) and then take on opposing armies before reclaiming Erebor as their home.

In other words…

Yet another one.

The main men and leading ladies…

Martin Freeman is, as ever, untouchable. Ian McKellen is just the same old Gandalf we know and love while Richard Armitage takes a dark turn as Thorin hunts for the much sought after Arkenstone.

In the chair…

Peter Jackson finally completes over a decade of work with his sixth epic but come on, it just wasn't necessary. He’s been getting a bit carried away lately and didn't need to replicate the magnitude of Lord of the Rings for a much smaller story.

So…?

Someone needs to take a knife and absolutely butcher this trilogy because the editors certainly didn't do it. In all honesty this shouldn't have been more than a two-part mission with the journey and meeting Smaug being part one, with the subsequent battles taking part in the sequel. Too much time was given to Gandalf and the elves as they paved the way for the Lord of the Rings, they're side plots were so unnecessary it came across as nothing more than padding. The battles resembled the The Two Towers so it was nothing we hadn't seen before and some parts were so far fetched it made the unbelievable, well, even more unbelievable. At least there weren't 25 endings this time, and Billy Connelly’s dry humour worked a treat (“Oh come on!”), but in essence this was just Middle Earth porn. Completely unnecessary but ticked all the boxes and kept the fans happy.

Worth the money?

Only if you need to complete the trilogy for closure. 

GET SANTA

Basically…

When Steve (Rafe Spall) is released from prison he wants to do everything he can to be a good father to his four year old son Tom (Kit Connor). But on hearing the news Santa (Jim Broadbent) has been arrested, Tom wants to help break him out of prison.

In other words…

Miracle on 34^th Street meets The Santa Clause.

The main men and leading ladies…

Rafe Spall plays the young dad trying to make up for lost time but somehow gets sucked back into the life of crime. He’s well cast and comes across as a lovable idiot. After the terrible news Kris Kringle himself, Richard Attenborough, passed away this year no one will be able to step into his Santa boots…but Jim Broadbent does a pretty good job at coming close.

In the chair…

Watch Christopher Smith take his career down an entirely different road with a family comedy after horror films such as Triangle, Severance and Creep. He branches out well.

So…?

This has a hint of Miracle on 34^th Street – with Santa being sent to prison – mixed with The Santa Clause because Steve has to take on the role of Old Saint Nick in an attempt to salvage Christmas. Combining the two works wonderfully and the cast really make this click. It’s genuinely funny, with enough hohohos for kids and adults alike, and contrary to other opinions, the Lapland trip adds the perfect dose of magic to an already strong plot. It has a mix of everything you want in a festive film and there’s a good chance this will be on your annual watch list for years to come. What a lovely early surprise gift.

Worth the money?

Yes, go and fill yourself with festive joy. 

PENGUINS OF MADAGASCAR

Basically…

Four penguins join forces with an undercover organisation, led by a husky (voiced by Benedict Cumberbatch), to fight against the evil Dr Octavius (voiced by John Malkovich) before he destroys the world.

In other words…

Great actors attempt career suicide.

The main men and leading ladies…

Let’s be honest, no one was going to go and see this for the four voices of the penguins – otherwise known as the buddies off the Shrek set. No, it was Cumberbatch, Malkovich and perhaps even Ken Jeong who would attract the audience. But unfortunately their brilliance couldn't shine through the pile of poo they’d dived head first into.

In the chair…

Eric Darnell, known for, basically, all the Madagascar films, and Simon J. Smith, known for even less, should be going back to school for a lesson in, umm, well, everything. Hopefully no bonus cheques were paid out for this one.

So…?

Imagine a bucket of utter drivel. Now imagine drowning in said bucket of said drivel. That’s what it feels like watching this movie. Right from the start it’s ridiculous. The designers must have produced the ugliest penguins of all time, they aren't likable in any shape or form, are increasingly loud and in your face, and perhaps even more irritating, the new born penguin has an alarmingly adult voice. The dry wit of Cumberbatch and Malkovich was attempted to be written into the script but even they couldn't salvage this slapstick disaster. It was so busy it was as though you’d taken a giant breath at the start and went head first into a whirlwind of idiocy. Fortunately it came to an end eventually but regrettably it won't be long before the next Dreamworks disaster is wheeled out.  

Worth the money?

Do us all a favour and don’t give this movie a penny…it might encourage them to make another one.

INTERSTELLAR

Basically…

A growing problem with dust in the atmosphere is rendering planet Earth uninhabitable. A NASA physicist plans to move the planet’s population to a new home via a wormhole but has to send a team of researchers, including Cooper (Matthew McConaughey), to discover where in space is the best option.

In other words…

Gravity with a storyline.

The main men and leading ladies…

Matthew McConaughey and Anne Hathaway get the job done without offending or particularly thrilling anyone on either side of the likability scale. Jessica Chastain and MacKenzie Foy play the old and young Murph adding the more emotional aspects of the movie.

In the chair…

With Memento, Inception and even The Prestige to an extent, another mindfuck was almost inevitable from Christopher Nolan. At almost three hours long he should have made better use of his editor though. And wrote a better third act...

So…?

What is it with big budget movies set in space getting overhyped this year? Just like Gravity this produced yet another anticlimax because of the who-ha surrounding its release. Let’s break it down – it’s a good idea and it unfolds well. It’s exciting, intriguing and original. It even has a great, unexpected cameo. But then the third act comes along and we’re slapped in the face by the bootstrap paradox. Did no one learn from Terminator?! The bootstrap paradox is when an item, person or information is passed from the future to the past, and is then used in the original timeline, creating a never ending loop with no origin. It’s not clever, it just doesn't work because adding something new would create an alternative timeline. Come on Nolan, you’re better than that.  

Worth the money?

If you don'd mind bootstrap paradoxes? Sure, even if it's just for that wave on the big screen.

NIGHTCRAWLER

Basically…

Lou Bloom (Jake Gyllanhaal) is a lowlife chancer who stumbles into a career as a cameraman. He films Los Angeles crime and mayhem by night and sells it to broadcasters for the breakfast news, going to increasingly greater lengths to catch the ‘money shot’.

In other words…

Donnie Darko gets down and dirty.

The main men and leading ladies…

Jake Gyllanhaal has played a lot of big roles but none of them have really stood out like this one. If the Oscars bypass this performance there’s something wrong the movie industry because this is by far his best yet.

In the chair…

Director and writer Dan Gilroy makes his debut in the chair with this original noir crime thriller. If this is just the start then hurry up and bring on the rest please.

So…?

Nightcrawler is both dark and gritty as it studies Lou as a character as much as it provides nocturnal drama on the streets of LA. It’s original, exciting and pushes the boundaries in terms of both Lou’s morals and the broadcasters’. Gyllanhaal is excellent at making your skin crawl and adding an edge of discomfort to the viewing. It’s visually slick and fast paced – blink and you’ll miss something - just like your average night around LA’s crime spots. Surely this has Oscar success written all over it?

Worth the money?

Go. What are you waiting for? 

THE MAZE RUNNER

Basically…

Thomas (Dylan O’Brien) wakes up on the outskirts of a maze to find his memory has been erased, just like all the other young boys who are already trapped there. The doors to the maze open daily but no one’s ever survived a night inside or found the exit. When Teresa (Kaya Scodelario) arrives Thomas is determined to find out who’s behind their fate.

In other words…

Lord of the Flies meets The Beach.

The main men and leading ladies…

Rising star Dylan O’Brien starred in the Teen Wolf TV series and featured in the 2013 comedy The Internship. Kaya Scodelario is best known for her role as Effy in Skins.

In the chair…

This is Wes Ball’s first feature length movie and he's making the switch from the art department where he mostly did graphics in the past. He’s already started work on The Maze Runner sequel; The Scorch Trials.

So…?

Like Divergent and The Hunger Games, The Maze Runner is another young adult franchise that’s making the transition from book to screen. It’s easy to make comparisons – a group of young boys forced to live together despite losing all hope of existence is straight out of Lord of the Flies. And with some characters being happy to turn their secret location into a home it also has touches of The Beach, which could have been explored further. But in saying that, it still has elements of originality. It’s unpredictable, gripping and tense enough to leave you anticipating the sequel.

Worth the money?

Worth seeing, but not neccessarily on the big screen. 

SAY WHEN (LAGGIES)

Basically…

28-year old free spirit Megan (Keira Knightly) panics when her boyfriend proposes. Bored of life and scared to grow up she starts hanging out with a group of teenagers and hiding in 16-year old Annika’s (Chloe Grace Mortez) home.

In other words…

An early mid-life crisis with a lot of jaw.

The main men and leading ladies…

Keira Knightley is all jaw and it’s increasingly distracting as the story unfolds. It’s strange and unnerving to see Sam Rockwell (Craig) as a father of a teenager and surely there’s only so long Mortez can keep playing a schoolgirl?

In the chair…

Director of Touchy Feely, Your Sister’s Sister and Humpday Lynn Shelton has stuck to the light indie flicks. Say When - or Laggies as it’s called out with the UK - doesn't really break that mould much. 

So…?

Considering how many costume and period dramas Knightley has done over the years this is a strangely natural role for her as she reverts back to her Bend It Like Beckham days. And despite Mortez being a tad too confident for the role she portrays her secret insecurities well. The age gap between the pair is also believable but the chemistry between Megan and Craig not so. Rockwell possesses the same suave arrogance he always does so it’s hard to knock him but that’s where the praise ends. This is a whole load of nothing. It’s predictable, isn't funny and doesn't really go anywhere. It never settles on a tone and leaves you feeling hollow and unsatisfied. It's so meh it's barely worth putting on in the background. 

Worth the money?

I hope that was a sarcastic question. 

SERENA

Basically…

A dark story of love, jealousy and greed, set in 1930s North Carolina, George Pemberton’s (Bradley Cooper) timber empire is affected when he marries Serena (Jennifer Lawrence).

In other words…

Jennifer Lawrence goes a bit psycho again.

The main men and leading ladies…

With an unflattering hairdo and an even less flattering personality Lawrence fails to capture your heart or trigger any emotion. A wooden performance from Cooper also leaves us questioning where the spark has gone between our favourite on screen couple.

In the chair…

Known for her romance films, but none of real note, Susanne Bier takes on this adaptation of the Ron Rash novel. It won’t stand out on her CV though.

So…?

It’s hard to remember the last time a film has left such an empty, cold impression as Serena does. With a cast as golden as Lawrence and Cooper you go in wanting to like it more than you care to on your way out. They do a lot of dramatic things but it never quite feels dramatic. You know you should be sympathising with George – and perhaps to an extent encouraged by Serena’s strength to overcome sexism at that time – but you feel neither because they’re so wooden. You never get deep into their world or develop a connection with any of the characters, leaving you asking 'who cares' by the end.

Worth the money?

No, it's not worth your money or your time. In fact, why are you still reading this? 

LOVE, ROSIE

Basically… 
Best friends Rosie (Lily Collins) and Alex (Sam Clafin) kiss on her 18^th birthday, but too drunk to remember she doesn't pursue any romantic connection. It becomes obvious they’re meant for each other but life starts to get in the way.

In other words…

This generation’s Sliding Doors.

The main men and leading ladies…

Lily Collins is perfect for a chick flick role, cute and likable. Sam Clafin, meanwhile, goes from arrogant sod in The Riot Club to adorable idiot which makes you want to cuddle him almost as much as you want to slap sense into him.

In the chair…

Christian Ditter is a fairly unknown name on the movie scene having just worked on children’s films in the past. This is a new challenge for him and he dealt with the adaptation of Cecelia Ahern’s Where Rainbows End admirably.

So…?

Unlike most chick flicks this is a realistic story of life – babies, relationships, jobs – getting in the way of life, making it believable and easy to relate to. Adapted from the novel, the characters have a depth to them which is interesting and warm. In fact, sometimes it’s so easy to empathise with their situations it becomes emotional and frustrating. It doesn't go over the top like What If when he chased her to Dublin and back – for financial reasons alone that’s just not realistic for most of the target audience. This is one of the best chick flicks of the decade never mind the year because it ticks all the boxes.

Worth the money?

If this is the genre you're into then yes, definitely. 

GONE GIRL

Basically…

When Amy Dunne (Rosamund Pike) disappears on her fifth anniversary, her husband Nick (Ben Affleck) becomes the prime suspect. Told from his perspective in present time, and hers in the form of diary extracts throughout their relationship it becomes obvious, amid the media circus, that there are two sides to every story.

In other words…

A game of who’s the psychotic one.

The main men and leading ladies…

While reading Gone Girl I pictured Bradley Cooper as Nick – then heard early on they’d cast Ben Affleck to play him. It didn’t take long to change the image in my mind and soon he became the perfect one for the role. And as predicted he did the part justice, perfectly striking a balance between awkward, uncaring and just socially unaware. Pike does well to depict Amy as both strong and powerful, but also weak and vulnerable at the same time.

In the chair…

When it became known David Fincher was going to be the brains behind the big screen adaptation it was always going to be in safe hands. Working with author, Gillian Flynn, the screenplay sticks almost religiously to the book and the Fight Club and The Social Network director still manages to put his own chilling dark stamp on it.

So…?

The eagerly anticipated adaptation is well worth the wait. The book, which has become a soaring success for Flynn, is popular for its gripping and addictive writing style. And the film reflects this as at two and a half hours long you don’t have a second to relax and second guess how long’s left. It’s been getting some scathing reviews for its seemingly sexist depiction of Amy and females in general but it’s about time a mystery thriller dug deeper than the predictable surface we’re used to. Like the novel, the film keeps you gripped and your mind constantly working. The intricacy of the plot begins to fall into place perfectly and there’s never a worry that it could get too ridiculous or unbelievable. It stays within the realms of reality while still being able to blow your mind and get under your skin.

Worth the money?

Film of the year so far, stop reading this and go see it.

LIFE AFTER BETH

Basically…

Zach (Dane DeHaan) is heartbroken when his girlfriend Beth (Aubrey Plaza) is killed by a snake bite on a hiking trip but soon discovers she isn't actually dead and her parents are actually hiding her in their house. As she slowly makes the transition into a zombie though, he finds it difficult to live with her changes.

In other words…

A romzomcom…in that order.

The main men and leading ladies…

The eternally wonderful Dane DeHaan is yet again the cherry of perfection on the movie cake. Playing one of his most normal and stable roles yet, for once we can actually relate to him. Parks and Recreation’s Aubrey Plaza has her finest moment in the form of a selfish, moaning flesh-eating zombie.

In the chair…

I Heart Huckabees writer Jeff Baena makes his directing debut with his real-life girlfriend starring as the finger-sucking undead. He also managed to secure some of Hollywood’s finest actors (John C. Reilly) with some of the most exciting youngsters (including Anna Kendrick). 

So…?

This has an ideal sense of humour for this style of quirky romzomcom, but it fails to ever hit the spot. The actors are top notch, the plot is original and the tone means it never takes itself too seriously, but there aren’t many laugh out loud moments. Zombie lovers will say there’s too much rom and not enough zom but it does well to reflect many teenagers’ problems – feeling lost, confused in love and the struggles of breaking free from their parents’ grasp. That and girls can be a bit psychotic at times. Kendrick adds another dimension with a particularly amusing car park scene, but it’s DeHaan and Plaza who carry this movie and save it from being a complete flop. It loses it’s way a bit but it’s easy to appreciate the effort nonetheless.

Worth the money?

Save it for Netflix. In the background.

BEFORE I GO TO SLEEP

Basically…

Christine (Nicole Kidman) is an amnesiac and wakes up every day with no memory of recent years because of a traumatic accident. She keeps a video camera diary to help her piece together her daily life and work out what caused her memory loss, which in turn forces her to question everyone around her.

In other words…

Memento with a different type of camera.

The main men and leading ladies…

Nicole Kidman is back to her best with shades of her performance in The Others while Colin Firth continues to be creepy and cold. This is a far distance from when the pair worked together on The Railway Man earlier this year with this being Kidman’s chance to shine.

In the chair…

28 Days Later writer Rowan Joffe took on the popular novel by S. J. Watson after being approached by Ridley Scott’s production company Scott Free and successfully turned this compelling, dark and gripping story to the big screen.

So…?

Watching the trailer you can’t help but think it’s a Memento rip off. In a way it is, but there’s a limit to how original amnesiac films can be considering so many have been made. In the end, this film is a lot less of a headache than the Christopher Nolan masterpiece. It’s less challenging on the brain and instead of working backwards with Polaroids this moves forwards with a digital camera. But despite it not being in quite the same league, there are some really hard hitting scenes – like when Ben is sitting outside the house on the phone. It’s dark, it’s tense and keeps you sweating until all is revealed. If you want to be pedantic you could pick as a few plot holes but it’s enjoyable on the surface and ties up a lot more loose ends than the book.

Worth the money?

Enjoyable but save it for DVD.

THE RIOT CLUB

Basically…

Miles (Max Irons) and Alistair (Sam Clafin), two freshers at Oxford University, are invited to join the infamous Riot Club –a group of boys who are brought together through wealth, privilege and their upper class status. But as the institution’s 'dining club' go all out to live up to their reputation of foul debauchery they take things too far.

In other words…

Rich boys who think they rule the world need to wake up. 

The main men and leading ladies…

Clafin, yes the smarmy guy from The Hunger Games: Catching Fire, is even less likable here. We’re captured by his desire not to get places simply because of his brother’s name, but he loses our empathy when he abuses that position. Irons (The Host and Red Riding Hood) however, maintains our ability to at least like one character but that’s mainly because of his love story, not his backbone.

In the chair…

Danish director Lone Scherfig (An Education and One Day) received a huge boost after a successful world premier at the Toronto Film Festival when the rights were taken to show the film in America – a much bigger audience than first anticipated. 

So…? 

Based on the novel and stage play Posh by Laura Wade, this is as easy on the eye for the female viewers as it is uncomfortable on the eye at the same time. The second half of the movie takes place in one location – a small family run pub-restaurant in the middle of nowhere – and it’s at this point it begins to feel more like a stage production. It’s witty and ambitious but the unrestrained, self indulgent immoral behaviour really gets under your skin. The characters are repulsive - their expensive hair products, perfectly measured tailcoats and overpowering sense of entitlement don’t make you jealous at all – instead you’d love nothing more than to smash the glasses they're drinking from across their smug faces. But despite all of this you’re still not compelled to switch off. It was important to establish a rapport with at least one character, and Miles’ relationship with a typically working class girl keeps us on his side. This is chilling insight into the dark side of privilege and you’ll enjoy everything that’s coming to them.

Worth the money?

Only because it will prevent you from punching the TV screen, but if you have self control leave it for when it comes on the television.

WHAT IF?

Basically…

Zoe Kazan (Chantry) and Wallace (Daniel Radcliffe) become friends after meeting at a party. She has a boyfriend though, so despite them being perfect for each other the pair agree to just be friends. This in turn obviously comes with its problems.

In other words…

A modern day When Harry Met Sally.

The main men and leading ladies…

So used to playing dark characters (The Woman in Black, Kill Your Darlings) or those from a different walk of life (Horns and umm, well Harry Potter), this is an unusually upbeat and lighter role for Radcliffe which he surprisingly pulls off convincingly. Kazan (most recently seen in Ruby Sparks) is sweet, cute and extremely likable which is needed for a genre pitched at girls. 

In the chair…

Canada’s Michael Dowse is forming a cult following for his previous local success stories Fubar and Goon, but not many would have been prepared for his swing towards the romcom genre. He said he wanted to subvert the bad clichés, rather than the genre itself and he did just that.

So…?

Let’s get one thing straight. This is no comparison to 500 Days of Summer. Yes it’s warm and quirky but it’s not warm and quirky to a 500 Days level – Super Joe or no Super Joe. But in saying that it has all the ingredients of a successful and fulfilling romcom. Exploring the age old debate can men and women be just friends, it’s another stab at a popular story. It’s believable, it’s easy to relate to and there are moments of real sexual tension and chemistry between Kazan and Radcliffe. The latter being strangely endearing throughout actually, despite his wooden nature. It’s at the top end of the scale when it comes to chick flicks but it’s downfall is how much it tries to squeeze in. Too much happens (flights to the other side of the world? Really?) and there are no real surprises, but plot twists aren't really what you sign up to with a movie like What If.

Worth the money?

No romcom is worth the money unless that’s exactly what you’re after. But if it’s what you’re after then this is a stand out.

THE GUEST

Basically…

Soldier David (Dan Stevens) turns up at the Paterson family home, saying he was a friend of their son who died in battle. As someone the mum Laura (Sheila Kelley) can mother, daughter Anna (Maika Monroe) can lust after and son Luke (Brendan Meyer) can look up to, he’s a welcome addition. That is until suspicions over his identity arise.  

In other words…

Homeland moulded to fit many genres.

The main men and leading ladies…

Best known for his work in Downton Abby, Stevens manages to play the role of teen heart throb, inspirational brother, model son, suspicious trespasser and old school psycho all in the space of 99 minutes. And he masters them all admirably.

In the chair…

Adam Wingard has mainly stuck to horrors until now, and while you could say there’s a hint of continuity here, it’s also a new direction for him. And he's taken an extreme opposite in the sense the traditional scary movies, this bad guy is handsome, friendly and in your house.

So…?

The intentions of The Guest are marked early on and it’s no secret it’s trying to be sinister and stylish. It’s starts off like a chick flick – hot guy, bit of sexual tension and confrontation with the high school bullies. The it descends into  this gripping suspense thriller which leaves you on edge and outwith your comfort zone as you lose confidence in the main character. Then the third act turns it into some ‘80s horror with a vibe similar to Drive. It doesn’t achieve quite the same atmospheric chill as the Ryan Gosling movie but it is incredibly tense. So much so you never really warm to the cold and calculated David, which makes it a tough viewing considering he’s the lead role. Girls start off wanting him, guys start off wanting to be him, but that quickly fades when you realise he’s not who he says he is.

Worth the money?

Doesn’t need the cinema to work, save it for DVD.

THE INBETWEENERS 2

Basically…

Will, Simon and Neil battle their way through college while Jay lives the high life on a gap year in Australia. Or so they think until the pay him a surprise visit. The four boys end up trekking across the country following girls, drink, and most surprisingly of all, love.

In other words…

Different accents, different bumders, same four lovable idiots.

The main men and leading ladies…

We've grown to know, and love, James Buckley, Simon Bird, Joe Thomas and Blake Harrison over the last six years. Ok so they’re all old enough to have about three kids each by now but they still make you believe they’re innocent, naive teenagers with the incredible ability to make you wince at actions that all seem too far fetched, but at the same time all too plausible for them.

In the chair… 
Apart from working with Jimmy Carr, Damon Beesley and Iain Morris aren't really known for anything other than The Inbetweeners. they've worked on various TV shows together but none that have hit the dizzy heights of the fab four. The pair have confirmed there won’t be a third movie to follow this one though.

So…? 

Fortunately the chemistry between the actors and interaction of the characters are still strong enough to maintain The Inbetweeners’ popularity. Despite the tone taking an unnecessarily immature dip (even for their standards) in the waterpark, the film is actually quite funny. Unlike many comedy sequels before, this one manages to finish on a par with the first movie. It works because it’s much of the same – the humour, the characters, even the location is tried, tested and successful. The additional characters – typical gap year students – have also been cast to a tee. Especially Ben, anyone who’s went abroad has met Ben…

The third act takes The Inbetweeners to a new level though, and almost rescues the film from being “just the same old nonsense” to “that was actually a pretty good sequel”. Seeing the four boys just sitting talking to each other, without filthy humour or embarrassing situations to make the scene work, showed just how far the show has come and how much they’ve grown as characters through the years too.

Worth the money? 

Save it, this is a night in with a DVD kind of movie.

SIN CITY: A DAME TO KILL FOR

Basically…

Continuing on from the first installment nine years ago, we return to Sin City as some of the town’s toughest citizens cross paths. Based on Frank Miller’s graphic novels and heavily influenced by film noir, Nancy (Jessica Alba) struggles without Hartigan (Bruce Willis), Marv (Mickey Rourke) gets into more bother, while new characters Johnny (Joseph Gordon-Levitt) and Ava (Eva Green) take on the dark, cruel town that doesn't forgive.

In other words…

Cinematic beauty in all its glory.

The main men and leading ladies…

Returning favourites Rourke, Alba, Willis and Rosario Dawson continue where their characters left off almost a decade ago while fresh faces spark new life into the community.

Super Joe continues to be perfection, Green continues to ooze sexy power while Ray Liotta does, well, he does what Ray Liotta does best. Josh Brolin meanwhile takes on the role Dwight, replacing Clive Owen.

In the chair…

Robert Rodriguez, and creator Frank Miller, waited patiently for things behind the scenes to click back into place before putting together another Sin City masterpiece. Relying so heavily on the use of green screen was rare back then, but with technology, equipment and even the acting improving over nine years, the double act made this sequel look easy. 

So…?

Some critics say this is noting more than a carbon copy of the first – it’s not – it’s a seamless continuation. And even if it was a replica of the 2005 movie, what would be the problem? Why change something so perfect? Instead of killing the franchise with an extreme change in direction, Miller and Rodriguez have taken another step closer to making it a cult classic. It’s sexy, it’s sassy and it’s uniquely liberating. A film with real punch and attitude, it’s both powerful and daring in equal measures. I challenge you to find a more aesthetically pleasing film this year as even behind the scenes, with it’s graphic novel storyboards, this production was blowing everything else out of the water. The only criticism would be the lack of emphasis on colour compared to the first one. The flashes of red from the shoes, or the ball gown were a lot more striking and memorable in the first movie, but then that may have been because it was more surprising back then.

Worth the money? 
Yes, films like this were made for cinema. 

LUCY

Basically…

Lucy (Scarlett Johansson), a traveller in Taiwan, is forced into transporting a rare and highly dangerous drug in her stomach. But when the bag opens the drug is quickly absorbed into her bloodstream, subsequently increasing her brain capacity. Exploring the notion we only use 10% of our brain, she evolves beyond human logic.

In other words…

The prequel to Under the Skin…and Her.

The main men and leading ladies…

Scarlett Johansson makes it a sci-fi treble this year, playing powerful woman that bend the rules of society. In Lucy the CPH4 drug transforms her from victim to Lady Vengeance with mind blowing intelligence. Her distance from reality continues into Under the Skin until she makes the full circle transition into a computer operating system in Her. Unfortunately these films came out in reverse order though so don’t expect the ‘Scarlett’s boxset of Intelligence’ anytime soon. Meanwhile, Morgan Freeman plays a clever man with a voice of authority – must have been a challenge for him.

In the chair…

Writer and director of Leon, writer of Taken and the brains behind Nikita, Luc Besson gifts us another no-nonsense shit-stirring thriller. He’s not made the impact on the 21^st century he would have liked until now, but with a Leon sequel high on his fans’ wish lists, he’s at least hit home with another artistic, ambitious and gutsy creation. 

So…?

Besson described Lucy by saying “The beginning is Leon The Professional, the middle is Inception, the end is 2001: A Space Odyssey.” While this shows he’s aware of how familiar his concepts are, it also emphases the bold risks he took in tying them all together. There are hints of many films in Lucy – Limitless (only Besson is adamant his script came first), The Matrix (only less of a headache) and Tree of Life (only a whole lot better). But while cutting and pasting from a number of sci-fi thrillers, what makes this experimental product work is the fact it doesn't take itself too seriously. It knows it’s ridiculous, extravagant and a bit nuts, but it still maintains a straight face throughout. That charm, mixed with its kinetic energy makes it easy to get lost in and wholeheartedly buy the concept too.

Worth the money? 
As one of the stand outs of the year, yes.