Man of Steel

"People are afraid of what they don't understand."

Across an ocean of stars, a planet named Krypton faces extinction.  In a final act of desperation and hope, a newborn boy is sent from it to seek refuge on Earth, where he grows up as Clark Kent.  Forbidden from betraying his true self, he finds himself torn between two worlds as vengeful forces pursue him.

Man of Steel is a new, modernised take on the story of the first and most iconic superhero, told with staggering scope and rich stylistic detail.  The film is at once a heightened science-fiction, with the opening sequences set on a far away apocalyptic planet among the stars; and is yet authentically realistic, with the plot subsequently grounded in an identifiable contemporary society.  The extraordinary is practically rationalised and accounted for throughout the narrative; allowing a previously untouchable hero to feel both authentic and relevant.  The non-linear narrative also allows the film to subvert many of the genre's cliches.  The stunning effects and cinematography are set to a subtle yet powerful score by Hans Zimmer; producing a most epic tone to the film.

Henry Cavill is divine as Clark Kent.  He plays the role perfectly, with hopeful blue eyes that betray the loneliness and depth of responsibility that hangs over him.  Just as the plot is conflicted between the agendas of two worlds, so is Clark torn between his inexplicable ties to humanity and his extraordinary heritage.  Amy Adams also delivers a strong and beautiful Lois Lane, driven by courage and curiosity.

The film poses the dangerous consequences of the denial and acceptance of identity, as the protagonist struggles with secrecy.  In particular, it delves into the implications that would be had upon modern society's perception of reality.  This is intricately linked with the theme of choice, and the deadly tension between a dictated destiny and free-will.   The villain of the plot subsequently poses an intense and intriguing threat, due to the justification behind his decisions.

Man of Steel is stunning and epic: the perfect blend of heightened science-fiction and realistic contemporary relevance.  The film ends on the most perfect note; teasing and creating great anticipation for the next chapter.

Oz the Great and Powerful

"Nothing's impossible."

Oscar (James Franco) is a carnival magician, a self-proclaimed conman, who finds himself caught in a tornado and swept to a bright and enchanting world named Oz.  But Oz is haunted by a dark and dangerous witch, and the faux wizard is drawn into an elaborate act of deception.

Opening with beautiful titles and a monochrome sequence, Oz the Great and Powerful is a delicious fusion of classic and contemporary with lovely nostalgic touches to the 1939 classic The Wizard of Oz.  Sam Raimi's new vision of Oz is Wonderland-esque, with bright flowers, top hats and tea cups.  Set to an enchanting Danny Elfman score, the film also features a selection of beautiful costumes: a blend of late-victorian, fairy tale and contemporary style.

The film's prominent theme is illusion and the power to deceive, whether antagonistically or heroically.   This is personified by the 'wizard', whose existence thrives on his charm and deception.  However, the cast's performances balance precariously in a curious stasis between juvenile and maturity.  They contest with adult themes of seduction, yet prominently deliver childlike reactions to situations; as though ever so slightly uncertain as to who their audience exactly is.

With lovely allusions to the original film, Oz the Great and Powerful is a good prequel to The Wizard of Oz; but does not entirely capture the timeless enchantment of the original classic.

Iron Man III

"Heroes? There is no such thing."

The past creeps up on Tony Stark (Robert Downey Jr.), a la Iron Man, as he returns to reality following  the Avengers Assemble and is confronted by a dangerous terrorist intent on tormenting the United States.

Robert Downey Jr. thrives as Tony Stark.  He perfectly captures the trauma that Tony is haunted with following the extravagent events of the Avengers, who are suddenly and curiously absent throughout this third chapter.  The film subsequently places greater emphasis on the man opposed to the hero, with Tony spending considerable more time out of his suit than in his preceding films; exposing a previously unseen vulnerability to the hero.  This allows the plot to channel an exploration of the relationship between man and technology in the twenty-first century.

The plot is further strewn with contemporary themes of terrorism, with Ben Kingsley delivering a great performance as the threatening and allusive terrorist known as 'The Mandarin'.  There is also a brilliantly hilarious twist to the plot, moments of absolutely stunning cinematography and a great repartee between Tony and Harley, a boy that he indadvertedly befriends.  However, the resolution and final sequences of the film fell short and were frustrating; lacking emotional resonance or plausibility.

Robert Downey Jr.'s natural affinity with Stark and the moments of divine cinematography carry the film smoothly, but the too easy conclusion to the final action sequences felt disappointing.

The Great Gatsby

"So we beat on, boats against the current, borne back ceaselessly into the past."

New York in the glitzy 1920s is intoxicated by decadence and glamour.  The mysterious and allusive Gatsby (Leonardo DiCaprio) throws the most amazing parties, but his heart is desperately ensured by the beautiful woman across the water whom he once lost.

F. Scott Fitzgerald's classic novel of desire and deception is bought to life in a cascade of pearls and sequins.  The production design and costumes are absolutely gorgeous, as the filmmakers draw upon the exquisitely fine details of the novel.  Leonardo DiCaprio steals the film in a flawless performance as Jay Gatsby, perfectly capturing the depths underlying his character.  He presents an intriguing and engaging character who is driven by hope and absolute idealisation.

The artistic direction and editing of the film though felt at times somewhat flawed.  Sequences felt hasty as Baz Luhrmann's shots cavort.  However, while this worked to a stylish effect in Moulin Rouge, it felt slightly ill-suited to a story as classic and sophisticated as The Great Gatsby.  The deliberate use of 3D, particularly during the title sequence, felt unnecessary and at times undesirable; tarnishing the otherwise divine aesthetic film.

An iconic story, intoxicating setting and enticing characters come together to create a gorgeous film, albeit under slightly flawed direction.

The Place Beyond the Pines

"If you ride like lightning, you're going to crash like thunder."

A fairground stunt rider, Luke (Ryan Gosling), returns to a town to find that an old flame is now the mother of a child that he didn't know he had.  Desperate to have an impact on his son's life, he turns his biking talents to crime, with far-reaching repercussions...

The drama unfolds across three narratives and two generations, striking engaging parallels between father and son as it delves into the consequences of passion and the desire for revenge.  The first third of the film is undeniably the most thrilling, as it sets up the following for a deeper debate into conflicting morals.  Ryan Gosling and Bradley Cooper deliver convincing performances as profoundly contrasting characters; delivering two flawed yet identifiable protagonists.  The film subsequently delves into conflicting perspectives of authority, questioning the boundaries between corruption and justice.

Even with peroxide blonde hair and thousands of tattooes Ryan is dashing, but unfortunately the narrative becomes undesirably long and increasingly drawn-out.

Lincoln

"No one has ever lived who knows better than you the proper placement of footfalls on treacherous paths."

America, in 1865, was divided by prejudice and torn apart by war.  Lincoln delves into the political and personal implications of the President's attempt to pass the 13th Amendment, the abolishment of slavery, amidst a landscape of death and division.

The cast deliver exceptionally strong performances.  The Academy Award bestowed on Daniel Day-Lewis for this role is undoubtedly greatly deserved, as he flawlessly portrays Abraham Lincoln as both a politician and a man.  The film's production, furthermore, is perfection.  The brooding cinematography captures the dark context, while the incredible production design authentically brings to life a country in the throes of civil war.

Although it is a story that many will know the obvious end to; the narrative managed at times to maintain a sense of uncertainty and suspense that was engaging.  Unfortunately, however, this was ultimately defeated by the slow pacing and great length of the film.  The plot is dulled by the repetitive and monotonous political discussions: pierced only by the lovely, unexpected appearances of Lee Pace and Joseph Gordon-Levitt, whose choices cast conflict onto the protagonists.

While the production and performances were absolutely outstanding, the plot became long, winding and ultimately tedious; as the film eventually drew to its inevitable and thus predictable conclusion.

Cirque du Soleil: Worlds Away

A young woman visiting a circus is enchanted by an aerialist.  When he suddenly falls, she follows him into a dreamlike world of surrealism, where the boundaries of science and imagination are defied.

Visionary filmmakers James Cameron and Andrew Adamson produce a film that captures the exhilarating and sophisticated feats of the awe-inspiring Cirque du Soleil.   With a stunning score and little dialogue, the film's emphasis is firmly placed upon the incredible, visual talent of the performers.  The film's narrative, however, was subsequently weak: constantly lost amidst the dramatic, yet incongruous, Cirque du Soleil displays.  Moving from one show to another, the film was constrained by the tents in which the characters moved: never allowing you to forget that you are watching a pre-existing scene from one of the Cirque du Soleil shows, obstructed by support wires.  While the circuses are undoubtedly stunning in their own right, it is difficult not to help thinking that an amazing opportunity to deliver an original cinematic story, through new and specifically-choreographed scenes, was greatly missed.

Cirque du Soleil: Worlds Away therefore provides a great introduction into the daring and visually-stunning world of Cirque du Soleil for new audiences.  Seasoned fans, however, may leave disappointed, craving something more...

Les Misérables

"I had a dream my life would be so different from this hell I'm living"

Revolutionary France is gripped by hunger, heartbreak and desperation.  Jean Valjean, imprisoned for a minor offence, seeks his freedom from the inspector Javert who is obsessed with recapturing him.  Rescuing a young girl named Cosette, they confront a society that is struck by injustice.

Hugh Jackman delivered a great performance as the protagonist; capturing both the strength and vulnerability of an honourable man who is unable to outrun the shadows cast over him by his past. Anne Hathaway, who won the Academy Award for her performance as Fantine, was also particularly stunning through 'I Dreamed a Dream' - in which her character breaks down as the song tumbles from her lips.   The artistry of the make-up and hair was excellent, as it depicted the social and physical disintegration of the characters.

However, there were aspects of the plot that were strikingly contradictory.  While the revolutionary ideology conveys that the working class should be identified with, the depiction of this class is largely grotesque; from the mascara streaked prostitutes to Helena Bonham Carter and Sacha Baron Cohen's comical turn as dishonest and degraded thieves.  The landscape of the film was unfortunately further flawed by the obvious computer-generated visual effects, as well as the overbearing camera angles that Tom Hooper cast on his characters.  The film stylistically, therefore, would have perhaps faired slightly better under different direction.

While the impossibly great expectations imposed on Les Misérables, after it's highly successful West End run, were always been difficult for the film to meet, the cinematic adaption does produce some strong acting and successfully captures the musical's most iconic songs.

Silver Linings Playbook

"You have to do everything you can, you have to work your hardest, and if you do, if you stay positive, you have a shot at a silver lining."

Silver Linings Playbook is a film about obsession, love and the delusions of reality.   Pat (Bradley Cooper) is released to his parents from psychiatric care, after the violent discovery of his wife's lover.  He meets Tiffany (Jennifer Lawrence), a beautiful but damaged young woman, and with her aid he is determined to win back the love of his wife.

The script delves into the tensions between optimism and negativity, and the implications that are produced both psychologically and physically.   Cooper and Lawrence's performances are perfect: portraying two strong and distinct leads who are constructed through their flaws.  Lawrence approaches Tiffany with sophistication; portraying her character with maturity and depth.  Cooper, meanwhile, perfectly captures the psychological turmoil of his character; the emotional extremes and the explosive tendencies of his fragile state of mind, as he clings blindly to the ghosts of his past.  Together they bring humour and humanity to their damaged characters; allowing the flaws of the human condition to be embraced.

Silver Linings Playbook balances upon the perfect edge between psychological drama and comedy, as it delves into the complexities of emotion.  This produces a film that, despite the underlying darkness, is at once greatly engaging and enjoyable.

Life of Pi

"If you believe in everything, you will end up not believing in anything at all."

Life of Pi is based on Yann Martel's novel, in which a storm strikes a ship on a voyage from India to North America, casting adrift a young man named Pi.  Entrapped upon a lifeboat with a tiger, they are each forced to fight for their survival.

The film is visual perfection: portraying dazzling landscapes and beautiful worlds, that are particularly stunning after nightfall.  This creates a dazzling canvas upon which faith is explored and challenged, from a young boy's wonder through to a man's desolation and desperation.  The early discussions in which the principle of truth is challenged, however, casts the narrative in a questionable light from the off.  The shipwreck subsequently delves into the notions of reality and fiction through an unbelievable yet amazing series of events.

Told through a profound use of metaphor and symbolism, the definition between the protagonist's dreams and truth is increasingly lost.   The visual effects and divine cinematography subsequently both affirm and tease the authenticity of the narrative, challenging the fabrication of story-telling.  The exquisitely animated animals, in addition, become increasingly convincing and genuine as the film progresses; constructing a powerful relationship founded on fear and empathy.  These features of the narrative create a story that is at once moving and extraordinary.

A beautiful, symbolic film that challenges the perceptions of truth and fiction.

Jack Reacher

"Look at the people. You tell me which ones are free?"

Based on the novel series by Lee Child, Jack Reacher is the story of an untraceable man who has no ties and knows no bounds.  When evidence indisputably pins James Barr as a serial-murderer, he calls upon the untraceable Reacher.  As Reacher is drawn into the investigation, he finds himself pulled deeply into a dangerous world of deceit.  The storyline plays out confidently by balancing action with conspiracy, which produces suspense and intrigue.  The use of altering flashbacks allow the plot, and our perceptions, to be continuously manipulated and twisted.  

Tom Cruise stars as the title character, who is ironically famous for his tall and imposing presence throughout the novels.  It is therefore difficult to overlook the incorrectness of Cruise's physicality for the role.  However, he delivers the character well: perfectly capturing the mannerisms and character of Reacher, so that by the end he has constructed a character whose presence is imposing, regardless of his stature.  Rosamund Pike co-stars alongside him as the female lead, Helen, whose character is flawed by inconsistencies.  Representing the contemporary strong woman, a beautiful and intelligent defence attorney striving to achieve success, she finds herself suddenly torn back into the archetype of a damsel in distress, who is helplessly lost the presence of Reacher and ineffective.  The other fleeting, yet perhaps more intriguing, female character is Sandy, who becomes an ironic symbol of fragility and manipulation within a corrupted world.

With a clever story, the film makes for a good action-thriller.  The undoubtable ambition of it spawning a new franchise of film, however, is a less than promising prospect.

Amour

"C'est beau."

"Que?"

"La vie."

Amour is the story of an elderly couple, Anne (Emmanuelle Riva) and Georges (Jean-Louis Trintignant), who are each other's world.  When Anne suffers a stroke and begins to show symptoms of both physical and mental deterioration, they are thrown the greatest test.

The leads' performances are outstanding: perfectly capturing the heartache, struggle and disintegration of a couple within their difficult position.  This produces an account that is at once convincing and uncomfortable.  The film's realism is further heightened by long, lingering scenes that create an intimate, but intrusive, portrait of Anne.  There is no doubt that Amour is worthy of each its Academy Award nominations.  But as the situation unfolds, it becomes increasingly difficult to watch and it is impossible to draw pleasure from this perfectly crafted film.

Stylistically and technically, Amour is an incredible piece of cinema, driven by its exceptionally strong leads.  However, Michael Haneke's blunt and uncompromising filmmaking produces an indisputably bleak and depressing picture.

To Catch a Thief (1955)

Alfred Hitchcock presents a romantic thriller, set against a Mediterranean backdrop of the French Riviera which is pierced by sinister tones.

A master thief known as 'The Cat' (Cary Grant) is forced to defend his innocence when a series of jewel thefts that closely resemble his style throw him back into the spotlight.  With the plan of ensnaring the thief, he draws a rich American and her daughter (Grace Kelly) into his elaborate ruses.

Grace Kelly stars as the controlling yet charming Frances Stevens.  Her costumes, by Edith Head, are gorgeous; from her ice blue chiffon gown to her elegant white dress.  Her character is the personification of class and sophistication: leading a high-speed car chase in a stunning sapphire blue Sunbeam Alpine, white driving gloves and heels.  Intuitive and confident, Stevens is a strong leading lady who challenges fashion and indulges in her affluence.  To Catch a Thief also relishes in Hitchcock's effective use of light and shadow, with an iconic firework scene that features beautiful cinematography.  Concluding in a lavish costume party of Marie Antoinette-esque decadence, the film is underlined by deception, suspense and mystery.

A glamorous and intriguing thriller from Alfred Hitchcock.

Rise of the Guardians

Rise of the Guardians is a beautifully animated film about identity, imagination and festive charms.

Jack Frost (Chris Pine) is a young and somewhat lost boy, who leads an invisible existence commanding the elements of winter.  When he is chosen to join the prestigious ranks of the Guardians, the iconic characters of legends who protect the children that still believe in them, Frost finds himself unwillingly drawn into conflict with the villainous Pitch (Jude Law), a dark parallel of Frost's own character.

The film is visually captivating, with showers of sparkling ice and snow beautifully captured with stunning detail.  From the frosting on Jack's hoody through to the glittering sand that is used to both construct and shatter dreams, the outstanding level of animation at once heightens escapism and produces a sense of realism.  This level of detail is also carried throughout the landscape, such as the ice covered lakes, swirling northern lights and the Easter Bunny's rainbow burrow, producing a world that is at once highly engaging and enchanting.

The characters are each confronted with a sense of loss, as their identities are threatened by the children's loss of faith.  This perhaps produces a social critique of children within contemporary society who grow up too soon, while inviting the audience to indulge in a blissful state of youthful innocence and imagination.  The supporting cast of highly entertaining confused elves (who don't actually make Santa's presents... they're just left to think that they do), fluttering baby fairies and eager walking eggs facilitate this by constructing a world that is both entertaining and enchanting.  The sophisticated artistry and themes of childhood imagination will therefore produce nostalgia in an adult audience, allowing the film to have resonance for audiences of all ages.

A very enchanting family film, which will evoke the nostalgia of childhood while drawing you into a fantastical festive landscape; perfect for Christmas.

The Hobbit: An Unexpected Journey

Returning to an iconic landscape of plucky dwarves, silver-haired elves and fiery dragons, The Hobbit: An Unexpected Journey is the first film in Peter Jackson's promising new trilogy.

The dwarves once possessed a glorious kingdom, Erebor, but when a dragon sets the skies alight with flames and they are brutally attached, the dwarves lose everything.  Years later, in the homely haven of the Shire, an unexpected visit from the wizard Gandalf (Ian McKellen) and a band of dwarves suddenly upturns the life of the hobbit, Bilbo Baggins (a perfectly cast Martin Freeman).  Together they are thrust on a quest to restore the mountain kingdom to the Dwarf-Prince Thorin (a dark and gleaming Richard Armitage), who refuses to forget or forgive the past inflicted on his people.

Delving into the themes of revenge, courage and choice; the plot introduces a new set of characters within a familiar Middle-earth landscape, producing the perfect fusion of old and new.  Middle-earth is, after all, a potent symbol of a lost and idealised past, that was rich with fantastical possibilities.  Nostalgia therefore plays a powerful role throughout the film, evoked through the signature notes of music, familiar sweeping panoramic shots of stunning landscapes and several notable parallels with the original trilogy's narrative.  The stunningly improved visual effects and immersive 3D entices you to lose yourself in Middle-earth in a way that was not previously possible.  Rivendell, in particular, is divinely beautiful, for the 3D introduces a new and rich depth to the valley of cascading waterfalls and sparkling rivers.  The production design is once again incredible; evoking a medieval landscape that is at once heightened and told through exquisitely fine detail.

Where the film can perhaps be slightly faulted, however, is within the treatment of the narrative's pace.  In many ways, The Hobbit felt like one of the unabridged versions of The Lord of the Rings films, with some scenes lingering on screen far longer than desired.  By constantly dipping into the backstory, the progress of the story feels at times limited, particularly given the film's long running time.  However, the richness that this produces cannot be disputed.  "All good stories deserve embellishment," as Gandalf tells Bilbo.

The Hobbit: An Unexpected Journey is a prequel rich with a strong cast, stunning visuals, a charming nostalgia and an underlying sense of impending danger; which will leave you curious to see the second part.

Camelot (1967)

The legendary story of love, honour and justice is bought to the screen through beautiful designs and exquisite visuals, based on the musical production.

On the eve of a great battle, a forlorn King Arthur (Richard Harris) is thrown back through his memories of the Queen that he has lost, Guenevere (Vanessa Redgrave).  Falling in love with the beautiful young woman, the King proposes a new system of justice and invites knights to Camelot to form the round table.  Among them is the virtuous and dashing Lancelot du Lake (Franco Nero), whose chivalry and vows are challenged by his heart.

Love and politics are closely interwoven throughout the plot.  "Was there ever a more inconvenient marriage of convenience?" asks Guenevere, confronted with a union with Arthur that is founded on political obligations, rather than their desires or choice.  Guenevere's youth and dreams are subsequently stolen from her, allowing the film to draw an interesting portrait of female power.  Arthur is characterised as a King who, until the arrival of Guenevere, felt ill at ease in his crown: a position that he had never desired.  Harris' vulnerability evokes the audience sympathy, perfectly humanising his character.  Torn by their duty to the kingdom and their love for one another, the characters' longings and torment are explored through musical numbers which, while not memorable, produce an intimate insight into their perspectives and hearts.  

The politics of Camelot are furthermore explored through the deconstruction of the knight's code and introduction of a new justice system, based on trial and evidence.  The concept of being "civilised" and the potency of boundaries are emphasised throughout the plot, against which the morality, conduct and corruption of the characters are explored.  "We must not let our passions destroy our dreams," Arthur advises, as his kingdom balances on the precarious divide of prosperity and destruction.

The beautiful artistry won Camelot three Academy Awards, and the film is indeed at its finest in its visual construction.  The costumes are beautiful, encapsulating the different seasons that play a profound role in symbolising the themes of love and time.  Guenevere arrives at Camelot is a hooded cloak of white fur within a snow covered wood, her heart guarded, then later skips barefoot in floating golden dresses with flowers adorning her long flowing hair in springtime, as she melts to the temptations of love.  The production design is furthermore stunning, from icicle covered forests to misty, moonlight flooded woods and a thousand flickering candles against an ominous backdrop of darkness.  

A beautiful telling of the famous medieval romance, Camelot conveys the preciousness of the past, as well as the tensions between being both a man and a King.  The unfortunate conventions of musical films at the time, which includes still frames announcing each musical interlude, punctuate the storytelling and remind the audience that the film is highly-stylized.  However, the stunning design and treatment of the narrative render a story that is at once engaging and timeless.

Skyfall

Skyfall, the film that has captivated the country, delivers a stylish Bond film that is visually thrilling and soars with its expectations.

When the top secret names of their undercover agents are stolen, MI6 desperately attempt to recover them while being thrust into a deadly spotlight.  When they fall subject to a vengeful terror attack,  a haunting past must be confronted in order to secure the future.

The plot is engaging and thrilling, as it examines the tensions between holding onto tradition and the necessity of embracing change.  Both the heroes and the villains of the narrative find themselves haunted inescapably by the events of their pasts, as they are faced with the possibility of a second chance: a resurrection.  From the challenging of M's outdated methods through to a damaged Bond, the film fittingly celebrates the fiftieth anniversary of Bond by questioning the notions of development and decay.  The theme of change is furthermore presented through the film's exploration of technology and it's relationship with terror, as the dangers of globalization are illustrated through the villain's cunning manipulation of technology.

Dame Judi Dench is magnificent as M, who has a pivotal role throughout the plot, as she faces the devastating consequences of her choices.  Ben Whishaw presents a refreshing addition to the secret service as the new Q: physically embodying the concept of change and representing a new, more advanced generation through his sharp mastery of computer technology.  Javier Bardem stars as the villain, a rogue agent who perfectly oozes with charisma and danger.

With a dashing of humour and an identifiable twenty-first century London landscape, Skyfall not only transports audiences to the exotic reaches of Bond's world, but constructs a familiar and plausible British backdrop.  The film subsequently strikes the perfect balance between dramatisation and realism.  From the stunning opening credits through to a dramatic fight upon a neon-edged skyscraper, the highly stylised cinematography of the film is perhaps one of the strongest attributes of Skyfall.  With fight sequences told through silhouettes, the threatening narrative theme of shadows is stunningly visualised.  The further use of Bond's signatures, from the classic Aston Martin through to the subtly shaken martini and the notes of the classic theme tune, stir iconic chills.

With thrilling action sequences, engaging themes, a stunning use of landscape and the cool demeanour of Daniel Craig, Skyfall is the perfect Bond film.

Mirror Mirror

Tarsem Singh's visionary adaptation of Snow White is a distant, colourful departure from the Brother Grimm's classic.

The Queen leads a lavish and indulgent lifestyle, plunging her kingdom into debt.  Seeking an attractive and wealthy solution, the Queen intends to marry the Prince, but he defies her intentions when he meets the King's beautiful daughter, Snow White.  Punished for upstaging the Queen, Snow White is sentenced to death, but is given the chance to escape and seeks refuge with a gang of bandit dwarves.  Together they embark on a Robin Hood-esque quest to restore justice to the kingdom.

Opulent and decadent, Mirror Mirror continuously borders on the ridiculous through the film's emphasis upon the excessive.  From the Queen's curious beauty treatment through to the Prince's costume at the ball, the film dismisses depth in order to indulge a younger audience.   Lily Collins stars as the royal protagonist, naturally radiating innocence and charm.  Her performance resonates of a Disney princess who has stepped straight from the classic animations, with a graceful and expressive demeanour.  Armie Hammer also gives a good turn as the Prince, who is used as a narrative leverage between the Queen and Snow White.  Supported by an enchanting soundtrack by Alan Menken, the composer of several of Walt Disney's greatest classics, the film also features a surprising cameo by Sean Bean and a Bollywood-esque ending, producing a contemporary rewriting of the classic story.

The greatest flaw of the film, however, was that it lacked a truly satisfying villain.  Julia Roberts delivers a somewhat entertaining turn as the Queen, but her continual attempts at humour prohibit her from achieving the fear that her character should inspire.  Her queen is a Marie Antoinette figure, living a life of decadent silk gowns and lavish parties; her motivations driven simply by financial deprivation.  When challenged "isn't that a trifle excessive?" she answers without hesitation that "there's no such thing."  Roberts' portrayal thus produces an indulgent and shallow woman, and little more.

A charming, contemporary fairy tale for young imaginations, Mirror Mirror fails to strike depth and resonance with an adult audience.  An innocent retelling that captures none of the original text's darkness.

Snow White and the Huntsman

Perfectly dark and enchanting, Snow White and the Huntsman presents a mature take on the classic fairy tale, by returning to the original Grimm's tale with themes of sexuality and entrapment.

A beautiful woman tricks her way into power with a phantom army, murdering the King and entrapping his daughter, Snow White.  Her poisonous reign enslaves the kingdom in darkness and death.  When she learns that Snow White's pure heart will allows her to achieve eternal beauty, she commands a huntsman to capture the girl who has fled her clutches.  The huntsman, however, defies her and is swept into a rebellion with the young princess against the Queen's reign.

Stunningly beautiful and deadly, Charlize Theron is perfectly cast as the wicked Queen Ravenna, visually drawing a contrast against Snow White.  Entrapped by her status as a woman, Ravenna is emancipated through dark magic and the manipulation of beauty.  The audience are enticed to engage with her as more than a mere villain, but as a woman constructed through sorrow and circumstance.  Her great insecurity is exposed in her calling of the mirror, which she indulges in to mask her suffering.  The physicality of the mirror as a figment of her imagination adds to the unsettling and sinister tones of her character.  She is thus at her most dangerous when her voice is soft, exposing the vulnerability, and subsequently desperation, of her character.  The Queen's beauty, which allows her to manipulate men and accomplish power, poses a potent symbol of corruption and strength.

Kristin Stewart at first won my reservations and mixed feelings in her portrayal of Snow White.  At times she perfectly portrayed a classically beautiful and courageous princess, at other moments she was clouded by her iconic sullen teenager countenance.  She successfully captured the sorrow of her character and was most evocative in moments of silence, but disappointingly was unable to effectively portray true grief.  However, by the end she delivered a reasonably strong performance as a tortured princess who draws strength from her purity and courage.

The Huntsman (Chris Hemsworth), a physically strong character, was surprisingly vulnerable.  Haunted by heartbreak, he flits between charm and uncertainty, producing a man that is at once confident and lost.  It was refreshing to also see the Prince, William, in a role that expands beyond a fleeting romantic endeavour.  William is a character consumed by guilt, who is driven to passionately pursue the ghosts of his childhood.  Sam Claflin plays him with grace and dashing heroism, despite continuously facing the threat of being overshadowed by the new, titular male protagonist.  The dwarves, similarly, have a less pronounced but equally engaging role.  Depicted as a band of gritty, stalwartly and likeable rogues, they are led by a cast that include Ian McShane, Ray Winstone and Bob Hoskins.

Told in a beautiful and rich landscape, from dark forests to floating lakeside villages, the production design is perfection, drawing audiences into a truly divine world.   This is adorned by the fitting choice of British accents, beautiful costumes and stunning cinematography, which draws on a vivid use of black and white.  The unfortunate scandal surrounding the film, however, will tragically prohibit the satisfying sequel that is desired, leaving the film to end on a flicker of romantic ambiguity.

A classic fairy tale, retold and embellished with depth through visually-divine cinema, in a rich landscape.

Looper

Looper challenges narrative and time with sophistication, as a man fated to execute himself is confronted with difficult possibilities.

In the future, 2074, time travel has been invented and swiftly outlawed.  It has become the device of criminal organisations who, unable to dispose of bodies in their present day, send their targets back thirty years to 2044, where they are killed by hit men called loopers.  The loopers live in a blur of murder, addiction and indulgence, in a city torn apart by social corruption.  One such hit man, Joe, finds himself charged with killing his future self who is sent back to be executed.  When he fails to do so, Joe is confronted by his future and the chance to challenge the terror that consumes 2074.

One man, divided into two characters, produces an engaging concept as their different experiences and desires are bought into close conflict.  The two representations of Joe, played by Joseph Gordon-Levitt and Bruce Willis, perfectly compliment and clash with one another.  Gordon-Levitt's performance is mature and sophisticated, as he perfectly inhabits Willis' persona while capturing a character of his own.  With convincing make-up that blurs the actors' identities, Gordon-Levitt successfully constructs a young man who is both impatient and impulsive, while Willis explores the pain and desperation induced by loss.   Their paradoxical relationship delves into the discord between youth and experience, through the different manifestations of rationality and morality.

With intriguingly complex moments of déjà vu, the narrative is presented through intertwining perspectives and strands of time, that are constantly being rewritten.  The plot develops fluently, introducing intriguing and thrilling new elements that are richly explored.  Amidst the ever-ticking clocks and gunfire is a powerfully emotional centre to the story, driven by the characters' different bonds of love.  Emily Blunt delivers a strong performance as a Southern American, who is drawn into Joe's plot as the mother of a boy caught between the present and promised future.  Her young son perfectly alternates between sweet and sinister, as the film delves deeper into the prominent tension between malevolence and innocence.

A stylish, intelligent and daring science-fiction film, Looper is an innovative and engaging exploration of perspectives and possibilities.