Something about.. The Fast and the Furious 5

I never hold out much hope for the second or third instalment in a Hollywood franchise like the Fast and the Furious - let alone the fifth. But number five took me by surprise.

I must start by admitting that having missed number four there were a few loose ends which I couldn't quite tie up - but taking that into consideration, Fast and Furious 5 certainly did what it said on the tin. It was fast and definitely furious.

Packed full of fast action scenes, shoot-outs, fights, car chases and stunts, the film provided everything which made the franchise so popular among the male species.

But what made this particular film extra special was bringing together characters from each of the four former movies, which certainly linked together some rather loose links between number one, two and four, with the rather odd-one-out number three - Tokyo Drift. Although the chronological placement of whether this, the fifth, was in fact a sequel or a prequel, I will leave to you to decide - but the uncertainly made for a more interesting storyline.

It was good to see original characters Dominic Toretto, Brian O'Conner, Mia Toretto and Vince back together for this film - as well as bringing in characters from the later films, with an extra special guest, The Rock.

What was the most surprising about Fast and Furious 5 was that the storyline was actually complex and engaging - there was no clutching at straws as there usually is once film-makers get this far down the line. But my my boyfriend's criticism did seem rather valid - there was a distinct lack in racing and cars, the very things which made this franchise so popular with the boys.

Even so - and saying this as a girl, not quite the target audience - I really enjoyed the latest instalment and would certainly recommend it. Not only was it an enjoyable two hours, but I definitely got brownie points with the man.

Something about.. Something Borrowed

I was well overdue for a girly chick-flick trip to the cinema. And Something Borrowed was just what the doctor ordered.

It was fun and bubbly and didn't take itself to seriously - thankfully.

To be honest with you, as a 22-year-old girl, all it takes is a love story, Kate Hudson and a dishy lead man - and the promise of a wedding - and I'm happy. So really, Something Borrowed hit the nail on the head.

It wasn't life changing, it won't be a film which will come off of the shelf at every girly get together and slumber party for the next decade, but it ticked all the boxes it needed to.

The lead characters were fun, but avoided being two-dimensional, and the interaction and chemistry between them was natural and easy. But most importantly, Something Borrowed was light-hearted and was scattered with laugh-out-loud moments and one-liners.

Kate Hudson always creates a likeable and endearing character - and even as the slightly bitchy and annoying Darcy, I still found myself warming to her and routing for her. Whereas Ginnifer Goodwin played the goody-goody lawyer Rachel, who I did find rather annoying. Still, the 'best friends' meshed well on screen which added to the awkward storyline of best friends crossing the line.

It's not necessarily something I would watch again and again, but I would certainly recommend it to my girlfriends for a girly evening in with a Chinese takeaway.

Something about.. Limitless

Limitless - without limit, boundless, the possibilities are endless. And the possibilities of what this film could have done were limitless. But disappointingly it didn't quite push the boundaries enough.

Don't get me wrong, the film was good and exciting and the idea was solid: if there was a drug that could allow you to access 100% of your brain what would you be capable of? An innovative and thrilling idea for sure, but the film makers just didn't quite bring enough to the table.

I never thought I would hear myself saying this - as a self-confessed lover of different and sophisticated films - but there just wasn't enough car-chasing, fighting, fast-paced action sequences.

The plot was strong, and the idea was a breath of fresh air - for once, not a regurgitation of a story told too many times before. It was original. But some of the details were lacking and characters were underdeveloped and a few strands of the story were questionable.

The film was fast-paced and action-packed, but could have done with much, much more. It failed to deliver everything it could have done.

I would never argue that Bradley Cooper was the greatest actor to walk the red carpet - needless to say it is enjoyable to watch him on screen for 90 minutes. He played the part well, but did nothing to surprise or shock.

Robert Deniro made a convincing business man and baddie, but needed to be more of a prominent antagonist.

Altogether I would recommend the film - but don't rush out and watch it as soon as possible like I did. It's definitely not worth the rush.

Something about.. Unknown

Trailers usually give a good indication as to whether a film will be good or not - like the trailer and you'll like the film. But not in the case of Unknown.

The trailer for this film pulled me in and I was eager to see the action thriller.

The film started off strongly. Despite Liam Neeson's painfully dire acting, the film started on the right foot. It didn't dawdle and threw the audience into the storyline and action quickly, which was engaging and thrilling.

Diane Kruger gave a strong and dynamic performance, as always, in the role of Gina, and January Jones was fitting for the glamourous but mysterious role of Dr Martin Harris' (played by Neeson) 'wife'.

The film was effective in staging the story, the action was subtle and not too over-the-top, using diverse film techniques such as slow-motion and light, to create atmosphere and add to the overall film experience.

But as the story started to turn, so did my enjoyment.

The pace and momentum of the film built well, and as the story grew darker, I remained optimistic about the plot.

The film-makers did well to invent an ending which I certainly did not see coming. But it felt like a cop-out, an anti-climax. Like the script writers just got bored and said 'yeah, that'll do'. They might as well have just killed everyone off.

The film built up the suspense well and then just threw it out of the window as the plot went off in another direction. Many have complimented the film on it's surprise twist, but I found it somewhat disappointing.

Neeson initially stepped out of his comfort zone to play a role which was un-focused on action and corny one-liners, but it didn't take long for him to slip back into his well-known and well-practiced routine character.

Kruger and Jones were enjoyable to watch on screen, and Frank Langella, appeared late on in the film to portray his signature mysterious role.

If you liked Taken then Unknown is probably worth a watch. I'd say wait for it to come on the late-night Film 4 schedule.

Something about.. Chalet Girl

It's difficult to go wrong really.

It's a well-tested and successful formula - romantic comedy plus English humour plus beautiful people (particularly Ed Westwick) equals instant box office success.

I bring you Chalet Girl.

The latest in the modern-day brand of romantic-comedies. If you're expecting something as memorable or as funny as Bridget Jones then you'll be disappointed. But take it for what it is and you'll leave the cinema satisfied.

Chalet Girl is the story of Kim (Felicity Jones), a former skateboarding champion who strikes it lucky and lands a chalet girl job in an Austria ski resort to make money to support her struggling dad (Bill Bailey). As her luck continues the boss's son happens to be the handsome, charming and rich Johnny, cue Ed Westwick.

Jones sparkles in the film - buzzing with energy, charisma and personality, she embodies the quintessential English attitude - and sarcasm.

Westwick brings with him the endearing qualities of his popular Gossip Girl character, Chuck Bass. He once again slips effortlessly into the role of the filthy rich, tuxedo-wearing, smoulderingly sexy heart throb. Not that I'm biased or anything.

With a stella supporting cast consisting of Bill Nighy, Brooke Shields, Sophia Bush and Tamsin Egerton - Chalet Girl is a bundle of fun from start to finish.

The film taps brilliantly into the modern-day young audience - many of whom enjoy ski holidays or have lived a ski season, offering a balance of realistic season experiences with aspirational (if a little corny) living-the-dream moments as Kim becomes a star snowboarder and wins over the hunky love interest.

Skirting around the slightly hollow storyline and the poor flashbacks, Chalet Girl is simply a good modern love story which will appeal to the masses.

It won't change your life. It won't make any award nomination lists or the IMDB top 250. But it will leave you wanting more fluffy fun.

Something about.. The Adjustment Bureau

The Adjustment Bureau doesn't have a title that particularly pulled me in. But it's description as Inception meets Bourne did intrigue me.

Matt Damon once again stepped into an action role with great ease. And Emily Blunt was a refreshing choice as the lead actress in the big Hollywood thriller.

Damon plays David Norris, a popular congressman who falls in love with Elise (Blunt), a ballerina, and suddenly finds himself subject to a mysterious group of men who are intent on keeping the lovers apart.

The Adjustment Bureau can be enjoyed on two levels: as a simple love story, where two people overcome all the obstacles to be together, or on a philosophical level, as higher forces decide our fate and the paths we take through life which is laid out as part of an ultimate plan.

I enjoyed it on one level - as a simple love story. The chemistry between Damon and Blunt was refreshing and full of life. And as a viewer I wanted them to make it together as a couple. But I struggled to enjoy the deeper strand of the film. Although I liked the idea and the theory behind it, it could've been executed better.

I found the importance of hats and the use of doors took away from the seriousness of the idea of fate. It all got a little bit silly.

There were hints of Bourne within the film - obviously due to the use of Damon as the lead character, but also through his cat-and-mouse chase with mysterious men and his search for answers.

And the comparison to Inception was clear throughout, but The Adjustment Bureau steered clear of over-complicating itself to the level that Inception did.

It's worth a watch - but I'd wait for the DVD and save yourself £8.

Something about.. I am Number Four

Sometimes it pays off to take a chance on a film - even if you're convinced you will hate it.

Today I took a gamble on I am Number Four. And it paid off.

I am not usually a fan of films which are about a) aliens or b) people with super powers.

I am Number Four blends both of these things. John (Alex Pettyfer) is one of only nine who survived from his planet, and have come to Earth for refuge. But three others like him have already been killed by an enemy from another planet which seeks to destroy their kind and take over the planet.

This is not a plot which entices me - nor is it one which I would usually enjoy.

But I really liked this film.

Pettyfer was the ideal lead characters - handsome, mysterious but likeable. And the relatively unknown actor gave a strong performance fringed with subtle references to his planet and powers. The film did not overkill the 'alien' aspect of the film, making it much more enjoyable and must less silly.

Timothy Olyphant gave a slightly 2D performance as Henri, John's guardian - but he fulfilled his role as a strong and protective hero, the closest thing to family for the lead youngster.

And the supporting cast was good. The beautiful Dianna Agron played Sarah, the love interest, and Callan McAuliffe created an amusing and kind character in Sam. Teresa Palmer was stiff in her scenes but she was a strong female character - refreshing in modern cinema to see a woman coming into the plot and saving the lead character and acting as a mentor.

Unlike alien invasion movies, I am Number Four was convincing and actually believable. I don't mean to say that I left the screen thinking there are aliens with super powers living among us - but I didn't spend the whole film laughing at the story and the characters.

The film ended with the perfect set up for a sequel. And I can safely say I would take a chance on that too.

Something about.. Little Miss Sunshine

Little Miss Sunshine is a sophisticated black comedy about a dysfunctional family who embark on a journey across America to take part in a beauty pageant.

The film is an uplifting tale about a family struggling to get through everyday life and striving to reach their dreams.

The audience is eased into the storyline and introduced to the characters at a family dinner around the table, and it is here that it becomes apparent how brilliantly the film is cast.

The plot explores an unusual family but is dotted with ordinary family themes and issues, and some rather dramatic problems.

Abigail Breslin plays Olive, a young and innocent girl who dreams of being a beauty queen but isn't the typical pageant participant wearing a face-full of makeup and sporting a fake tan.

Greg Kinnear takes on the role of the father, Richard Hoover, an over-achieving businessman obsessed with winning and being the best.

Toni Collette is Sheryl Hoover, the mother and wife, and a pillar of normality in a film filled with eccentric and exaggerated characters. She plays a busy and stressed mother struggling to balance work, running a home and getting the best for her children.

Paul Dano plays Dwayne, an awkward and emo teenager who has made a vow of silence and also dreams big, committed to becoming a pilot.

Steve Carrell was a pleasant surprise in Little Miss Sunshine as he stepped away from his usual empty and forced comedy roles in forgettable Hollywood churn-outs. He plays Sheryl's complex and disturbed brother, Frank Ginsberg, recently released from hospital having attempted suicide.

And Alan Arkin plays grandpa Edwin Hoover, a grumpy but dedicated war-veteran father and grandfather with a cocaine problem.

This dark comedy has moments of laugh-out-loud humour entwined with dark themes of suicide and drug abuse.

The story follows the family as they race across America to reach the Little Miss Sunshine pageant on time. But the journey is fraught with obstacles as the Hoover's must overcome their faulty campervan, deal with job and money problems, and face the bereavement of grandpa Edwin, as well as Dwayne's heartbreak at the discovery he is colourblind meaning he cannot fulfil his dream of flying.

But it is these dramas which bring the family together in this uplifting and warm tale as the Hoovers realise the important things in life and rally together during the finale at the pageant. The family is bought together by an inappropriate dance to 'Superfreak'.

The family's descent into madness comes to a happy ending as the Sheryl and Richard reconnect, Frank finds happiness and solitude with his extended family, Olive receives the support and love of her family at the pageant and Dwayne rediscovers his voice and insightfully says: 'Life is one beauty contest after another.. you do what you love and fuck the rest."

Something about.. No Strings Attached

Modern films tend to lean towards either the male audience or the female audience - and rarely does a film offer a satisfying experience to both. It doesn't need to. All girls will drag their partners along to see the latest chick-flick or the new tear-jerking drama. And all guys will persuade their girlfriend to face the new Bond film or the latest horror remake.

Romantic comedies draw in the women with hunky lead men melting into soppy romantic lovers in the presence of a self-conscious and flawed woman. Girls revel in the dream.

And men flock to see the sordid explicit comedies, filled with nudity, slapstick humour, crass sexist jokes and all things manly, including cars, gadgets and action. Guys revel in the dream.

But rarely - very rarely - along comes a film which has something for both.

No Strings Attached is one of those said films.

It is, on one hand, a romantic comedy with all the ingredients for a girly chick-flick: the attractive and loveable Ashton Kutcher, and the smart but withdrawn anti-relationship independent woman played by the beautiful Natalie Portman. Coupled with jokes about periods, this is the ultimate girl film.

But on the other hand, there are countless sex scenes, graphic and humorous jokes about sex, as well as nice cars and big houses. Coupled with a title which embodies the male dream, it's a sure-fire hit with the male population.

The film itself was nothing special and it wasn't original - but it was executed well and provided a funny and enjoyable cinema trip.

Kutcher and Portman made a good couple, and were supported by an unknown but witty cast.

I would recommend No Strings Attached as the perfect date.

Something about.. Brief Encounter

I must admit my experience of the black and white classics is somewhat lacking. But it's never too late to try something new - or old.

But - inspired by my friend's love for the old love stories, and particularly Brief Encounter of which she has a framed picture next to her bed - it was time to immerse myself in the films which inspired decades of romantic comedies to follow.

And I wasn't disappointed. I accept that the oldies will never be my favourite genre, but as a hopeless romantic and an idealist when it comes to love stories, I enjoyed this film about two strangers falling in love.

The 1945 black and white film is truly charming and inspiring. It relies on a simple and straightforward story of two lovers, there are few extra characters and no complex plot. Unlike films today which battle to outdo each other in special effects, a-list casts and intricate plots, Brief Encounter relies totally on the chemistry between Celia Johnson and Trevor Howard.

The acting feels slightly corny and wooden when looking back on it from more than six decades on, but

Brief Encounter is filmed and framed beautifully - the art of making films in the 1940s leaps out at you as you watch the long, lingering shots and close ups filled with emotion and raw acting.

And the simple idea of falling in love at first sight with a stranger, and waving them goodbye on a train station creates a love story and a tragedy which may be impossible to beat.

The film is touching, heart-wrenching and is a must-see for any girl.

Something about.. the BAFTAs 2011

The BAFTAs - the creme de la creme of film gather in one room to celebrate the greatest films of that year. 2011 was no different with one major exception: it was the most predictable award show I have ever seen.

Everyone knew that The King's Speech would fair well, but it dominated beyond imagination.

Although fully deserving of the acknowledgement of the academy, I also felt that The King's Speech should not have scooped all the awards that it did.

Unsurprisingly and justifiably Colin Firth took the leading actor award for the second year running for his portrayal of King George VI. Last year the British actor took home the award for his role in A Single Man.

The supporting actress award went to Helena Bonham-Carter, who was also fully deserving of the accolade after such a refined and regal performance as the Queen. Her scatty but witty speech was the highlight of the evening and showed her as an intelligent and talented woman.

Geoffrey Rush was also an unsurprising choice for the supporting actor award for his extrovert performance as speech therapist Lionel Logue.

Although the odds were on The King's Speech to win the best film I must admit I felt slightly disappointed when it took the coveted title. Although the film was impeccable I didn't feel it deserved both best film and outstanding British film awards.

However, it was satisfying to see modest writer David Seidler take the original screenplay award.

The King's Speech was also honoured with the award for original music for the work of composer Alexandre Desplat. A biased part of me hoped this award would go to musical visionary A R Rahman for 127 Hours.

The Harry Potter films were a logical choice for the outstanding British contribution to cinema award, and I think it could be the first in many more to come after the release of the final chapter later this year.

Hit film The Social Network which tells the story of Facebook founder Mark Zuckerberg took home three awards. Aaron Sorkin was awarded the adapted screenplay award, Angus Wall and Kirk Baxter were acknowledged for editing and David Fincher got the prestigious director award although in my mind Danny Boyle fully deserved the nod for his exhilarating, inspiring and original 127 Hours.

Natalie Portman completed the bookies list of predictions by taking home the leading actress award for her fragile and harrowing performance as ballerina Nina Sayers in Black Swan.

It was a particularly memorable and poignant moment as Sir Christopher Lee accepted the Academy fellowship award with a truly moving speech.

The Academy acknowledged Inception's creative department and special effects by awarding the film with awards for production design, sound and special visual effects.

Alice in Wonderland was also awarded with gongs in costume design and make up and hair.

Tom Hardy took home the Orange Wednesdays rising star award and the best animated film award went to Lee Unkrich for Toy Story 3. True Grit's Roger Deakins was awarded for cinematography whilst The Girl with the Dragon Tattoo took home the film not in the English Language award.

It was an unexpected but satisfying win for Chris Morris, writer/director of Four Lions which took the outstanding debut by a British writer, director or producer award.

The Eagleman Stag was awarded the short animation award and short film went to Until the River Runs Red.

Something about.. Black Swan

Darren Aronofsky, the acclaimed director of Requiem for a Dream and The Wrestler, presents another intense and artistic film, Black Swan.

The film takes the glamorous and elegant world of ballet and explores the darker side of this historical art form, tainting its purity with a psychological story which reflects the famous tale of Swan Lake as Natalie Portman falls into darkness and loses her mind.

Portman deserves all the credit she has gained from her performance as the lead, dedicated ballerina Nina Sayers who lands the lead role when her dance company puts on Swan Lake.

She encapsulates the fragile beauty of the White Swan, graceful and innocent and as a ballerina desperately seeking the approval of her mother and her director, Thomas Leroy (Vincent Cassel). Portman powerfully displays Nina's transformation from a delicate and timid ballerina into a troubled and paranoid lead.

Mila Kunis is the perfect supporting actress and opposite Portman she plays the reckless and free-spirited Lily, resonating everything that Leroy wants out of his Black Swan, and everything that Nina is not.

The casting and performances - including supporting roles by Winona Ryder and Barbara Hershey - are flawless, and the style in which it is put on screen is captivating. But the story is where the film lacks credibility.

A powerful and eye-catching use of light, and dark, throughout the film creates a theatrical atmosphere mirroring that of seeing a real ballet in a theatre. And the use of props - such as mirrors - coupled with the voyeuristic style of filming and specific editing style create tense and thrilling scenes as Nina slowly slips into insanity.

Although aspects of the plot are particularly strong, such as the development of the characters and their onscreen chemistry and relationships, I can't help feeling the film hasn't quite got it right.

Nina's insanity seems all too extreme, and although I respect the complexity of the story and what the film makers were trying to do, it didn't quite work.

Black Swan was successful in making the audience question everything they see on screen. But it went too far, leaving the viewer unsure as to whether what they just saw was really happening in the script or was just in Nina's head.

Beginning with simple and subtle illusions worked, but as more and more of the film was skewed by Nina's imagination it was easy to get too lost. Some parts seemed unnecessary and it felt as if the director was over-complicating things.

Something about.. Morning Glory

Morning Glory has an impressive and applaudable cast - Harrison Ford, Jeff Goldblum, Diane Keaton and Rachel McAdams lead the film. And grossing more than $30,000,000 at the box office the plot must live up to the A* cast.

Well it seems anyone will see a film if it's got a high profile cast list because Morning Glory was nothing special. In fact I'd go as far as to say it's un-special.

McAdams plays an enthusiastic and passionate producer who takes up a challenging job to improve a struggling morning show after getting fired from her original job. Along the way she meets a string of stereotypical and cheesy characters, including Indiana Jones himself, Harrison Ford.

Ford should have stuck to archaeology because he's poor as a moody and grumpy journalist come TV presenter. His pensive and overly serious performance is unbelievable, dull and OTT.

The film is typical of another unoriginal comedy churned out by a Hollywood studio without a second thought. And unsurprisingly that means its an uninspiring and instantly forgettable film that I have seen before and I will see hundred times again.

Something about.. Secretariat

Animal films - particularly those about horses - are not up everyone's street. But Secretariat breaks down those boundaries.

Not only will horse lovers like it, but wider audiences will too.

It is an inspiring and empowering story of belief and faith. With some horse racing thrown into the mix.

The film follows the story of Penny Chenery, a respectable and proud wife and mother whose life changes after the death of her mother. Returning to her family home and farm - with a long history of training and racing horses - she takes the decision to continue her parents work and puts all of her effort into a long-shot horse, Big Red.

Enlisting the help of eccentric but brilliant trainer Lucien Laurin, played by the one-and-only John Malkovich, Penny (Diane Lane) guides the audience on a journey of overcoming obstacles and problems to reach the seemingly impossible goal of winning the Triple Crown.

Secretariat is uplifting and inspirational, not just for those interested in horses or horse racing, but for everyone sending out an important message that anyone can achieve anything with just a little belief and a little hope.

Despite the conflict of training her beloved Big Red and the long-distance relationship with her family, the illness of her father and the money problems, the film - which is based on the true story of one of the greatest racehorses to ever run - Penny shows that anything is possible if you don't give up.

As a horse lover I obviously enjoyed the film, but I would also recommend it to other anti-animal people.

The characters are wonderfully developed and believable, and the casting is faultless.

The plot has the perfect combination of fast-paced and exciting racing action scenes, humorous one-liners and situations, and warm, emotional relationships between family and between Big Red, his owner, trainer and jockey.

Seabiscuit was a hit on its release in 2003 - the true story of an unlikely champion racehorse rising above all the obstacles to become a surprise success story. Secretariat is ultimately the same - but better.

Something about.. Going the Distance

When watching Going the Distance after The Town it's hard not to draw comparisons. Therefore I'm reviewing them in that order and in comparison to the dark bank job film, this rom-com is the polar opposite.

Going the Distance is light, funny, enjoyable fluff. It is not life changing, or meaningful - but it's hilarious and satisfying.

It did everything I wanted it to do, made me smile. It was a laugh a minute.

The story is not original or new, but it was inoffensive and entertaining.

Drew Barrymore plays Erin, a journalism intern who meets Garrett (Justin Long) whilst working in New York temporarily. Despite promising themselves that the initial one night stand will not lead to anything meaningful, they quickly fall in love which creates problems when Erin returns home to San Francisco.

The film is centred around the couple as they struggle with their long distance relationship.

It is personable and relatable, and touching for anyone who can identify with the situation of being torn between your relationship and your career.

The film won't win any awards - and the cast certainly won't receive any credit, but I think Going the Distance deserves some recognition even if it's just for being the first trashy, cheesy rom-com in a long while to make me physically laugh out loud.

Highlights include Dan's through-the-wall soundtrack, a spontaneous moment of passion on the dining room table and a certain youtube video.

Going the Distance is certainly a film to take along to a girly evening - and will go perfectly with popcorn, wine and face masks. But it's also the DVD to add to your collection, or buy as a friendly birthday gift.

It's guaranteed giggles and an easy-going feel-good film.

Something about.. The Town

I had high hopes for The Town. A modern day bank robbery film - violent and brutal, action-packed but with an unexpected and unconventional love story.

Previews gave the impression of a powerful, fast-paced but challenging film about a man torn between his dark money-hungry criminal side and his good loving side.

The audience was thrown into the action, kicking off the film with the chilling robbery carried out by masked thieves with guns. A similar scene like that in many bank job movies I felt the film may struggle to be original or memorable.

But disappointingly it turned out to be even less than just that.

The film just took itself far too seriously. (Although I never thought possible) there was too much intensity. No scenes of lightness to lift the mood, no moments to breath, and there was certainly no fun or humour. There was just too much pent up passion, too much tension. It was like waiting for a stretched elastic band to break, or waiting for a giant balloon to burst - uncomfortable and awkward.

In a modern city setting and with some 'normal' characters the story was too dark and evil. There were too many hushed tones, mumbling on-edge conversations and whispering voices in dark corners.

Too much intensity - took itself too seriously, there were no moments to breath, no scenes of lightness or even humour. The Town was full of too much pent up passion, too much tension.

Shockingly Ben Affleck was one of the best parts of the film. Unlike his typically corny acting he was surprisingly convincing as the double-sided Doug MacRay, a greedy bank robber and a caring partner.

Rebecca Hall was good as Claire Keesey - a hostage from the bank robbery who unknowingly falls for one of her captors - is average. She plays the part well but brings no sparkle to the lead female and is instantly forgettable (I had to IMDB her in order to reference her in this review!)

And Blake Lively struggles to demonstrate her acting ability outside of Gossip Girl, playing Krista Coughlin, a drug user, single mother and former lover of Affleck.

In fact, the unknown actor Jeremy Renner who plays the harsh and gritty character of James 'Gem' Coughlin is the strongest performer in The Town. He plays an edgy, chilling and cold criminal with little compassion in his debut film and he could be one to watch in the future.

All in all, my hopes were dashed. The film was nothing special. It was average - distinctly average.

Something about.. Wall Street Never Sleeps

As soon as I saw the Wall Street Money Never Sleeps trailer I was engaged. I couldn't wait to see the film which looked intelligent, exciting and topical. I couldn't have been more wrong.

I have a rule that once I start to watch a film I always watch to the end. This is usually no effort at all but Wall Street Money Never Sleeps was the longest two hours of my life. It was physically painful in fact.

The film may have had a decent cast of Shia LaBeouf, Michael Douglas, Frank Langella and Carey Mulligan, a topical and interesting plot line based on real events and a talented director - all the ingredients for the perfect film. But despite being topical it was painfully dull.

Based on the stock market crash in Wall Street I expected a thrilling, exciting and fast-paced film, reflecting the stock market itself. But the film was too much talking and used too much financial lingo - any viewer without an economics degree would struggle to keep up.

Although each cast member delivered a good performance, bursting with passion, they struggled to carry the film through without a good enough plot.

It's also far too long. For a film that makes passively watching such hard work, it also did it for far too long.

Unless you're a stockbroker or a financial advisor or an economist I would not recommend this film. You'll just feel like a fish out of water, or you'll feel out of your depth - kind of like the bankers who got us in this financial mess.

Something about.. Miss Potter

I had two preconceptions sitting down to watch Miss Potter. A film about a world famous author of which little is known about could always be revealing and intriguing. But also runs the risk of being dull.

However my judgement is that the film was a quaint and charming insight into the woman behind one of the best-selling authors of all time.

Renee Zellweger is not a favourite actress of mine and I often struggle to warm to her in roles, but she presented a relatively likeable, strong and inspiring woman in Miss Potter. The love and compassion she has for her imaginary characters and the stories she tells is believable.

Ewan McGregor is still far from becoming a great actor or winning any awards, but despite his wavering ability to perform, he manages - once again - to create a warm and relatable character which you both like and care about. Clearly why he makes such a strong lead man and love interest.

The story is somewhat slow and the action sparse, but Miss Potter does exactly what you expect it to do. It doesn't excite, enthral or thrill, but it does entertain, enchant and inspire.

I do think this is a film to be enjoyed more by those who have read the Potter books and grown up with her stories. But with a well-known cast, warm story and beautiful cinematography it would come as an enjoyable surprise to most who watch it.

Something about.. The King's Speech

Another hyped film to try out and ask the question: does this film deserve the hype? In the case of The King's Speech, I say yes, it does.

Films about royalty always seem popular in England (despite the actual Royal family losing much respect and credibility) and this one was no different.

Perhaps it's because of the current buzz surrounding the Royal wedding, or perhaps it is solely down to the warm storyline and the excellent cast.

Colin Firth displayed his slightly moodier side with the character of King George VI (Bertie), moving away from the nice guy roles he has become typecast in.

He gave a sublime performance as the struggling Prince, earning the viewers sympathy and pity. But he managed to create a man who could quickly turn that on its head, snapping and losing his temper.

Helena Bonham-Carter stepped outside her usual role - there were no wicked witches to be seen, no Marla Singer's, and she played a proud and regal Queen - with a normal sized head!

Despite stepping away from her typical character and film she was comfortable in this quintessential English film. She created a strong and powerful woman, but also opened up to show a kind and gentle side.

Geoffrey Rush really sparkled in The King's Speech. Playing Lionel Logue, the speech therapist he had a modern outlook on treatment for Bertie's stammer. As for the character, Rush created a fun, cheeky and warm character. He provided humour and entertainment throughout.

Don't be surprised if The King's Speech gets a full sweep at the awards shows this year - with Colin Firth truly deserving of a best actor nod.

But Bonham-Carter and Rush should certainly not be ignored, and in my opinion, they are each deserving of supporting cast acknowledgments.

Something about.. Conviction

I was initially drawn to this film after learning that it was based on the true story of a wrongfully convicted man who served 20 years before being released. But the dedication and tenacity of his sister, who fought to get him exonerated was what really intrigued me.

The main factor which propels this film from start to finish is the chemistry and connection between Swank and Rockwell. It is touching, charming and totally convincing.

Swank is a acclaimed and celebrated actress, but I have struggled to ever warm to any of her characters. But stepping into the role of Betty-Anne, Kenny's devoted sister gave Swank the opportunity to explore this side of her acting ability. And I found her charming and amiable.

As an audience member you share in her pain, and in her happiness throughout the highs and lows of the film.

But it is Sam Rockwell's performance as the troublesome and cheeky Kenny which really shone through. Kenny is a funny and loveable character, with a reckless streak he is well-known to the police for fighting and misbehaving as a child. But as an audience member you share Betty-Anne's opinion that he is not a murderer.

Rockwell is thoroughly convincing in the role, offering a poignant and memorable performance.

Although the film is at times on the slow side, it is tense and thrilling. As Betty-Anne frantically battles to gain an education and law degree before searching for evidence to clear her brothers name. The story is intertwined with scenes of Kenny and his sister as children, explaining why they are so close in adulthood. The child actors also deserve praise for their performances.

Having previously read the story, the only disappointment came at the end of the film when the epilogue failed to divulge the fate of the real-life Kenny Waters. I suppose it would spoilt the feel-good happy ending which is so important to many American films.

The story is an inspirational and memorable tale of the unconditional love between a brother and sister, and a film which focuses on the faith Betty-Anne had in her brother, and the hope that she relied on to set him free.

Something about.. 127 Hours

This film could have gone horribly wrong. Had it have fallen into the wrong hands. But thankfully, it didn't. And the end result was one Danny Boyle, James Franco and Aron Ralston ought to be very proud of.

Danny Boyle once again proved why he is one of the greatest directors of all time. His signature style shone throughout. His films are visually stunning, and his pace and unique filming technique coupled with the arty editing create for a one-of-a-kind cinema experience each and every time. This time was no different.

127 Hours was filmed and edited in an exhilarating and intense way, reflecting the story, surroundings and the main character.

The soundtrack - by Slumdog Millionaire success, A R Rahman - was impeccable, blending thrilling, fast beats with soft, quiet melodies for reflective moments and even the odd recognisable song.

Boyle once again produces a film with flare and originality, still in keeping with the trends that have made him famous. Surreal moments of obscurity to rival even the Trainspotting toilet scene and the use of sound and music to support the visual aspects.

Boyle has had fun with Ralston's premonitions and memory montages, allowing his imagination and innovation to run wild. And his detailed and creative use of sound and music to enhance the film works brilliantly in 127 Hours, particularly when Ralston is breaking and cutting off his arm.

James Franco did not disappoint. He effectively and convincingly carried the whole movie through, relying soley on brute acting to tell the story. Supported only by brief interludes of memories and premonitions, he managed to hold my attention throughout. He captured the free spirit and independent aspect of Ralston and gave a striking performance slipping into hysteria and madness.

Franco showed many elements of Ralston's character, demonstrating his energy and upbeat personality, but also showing him as a caring and loving son, brother and lover. The key in the character was to see his change and the realisation that he does need others around him.

The highlight for me was Franco's video diary entries, and particularly the talk show scene. As Ralston reaches dehydration and starvation, he presents his state of mind through a video conversation with himself. It is both humorous and touching, as he takes on three elements of his own personality. The confident, joking and upbeat talk show presenter; the guest, an independent, lone adventurer who has ran into misfortune; and the caller, who has realised what he has lost through a desire to be independent and do things alone. Franco quickly snaps from this comedy scene to a poignant and haunting goodbye to his parents.

I'm always sceptical when a film relies on flashbacks. But 127 Hours approached the memories and hallucinations very tentatively, using them subtly and sparingly. They were effective in adding another dimension to the plot - which could have become tedious without - and to affirm the idea of Ralston realising that being alone and independent isn't the best way.

My conclusion, Boyle has done it again. And look out for Franco's name on the Oscar shortlist.

In a word: unmissable.

Something about.. Inception

Also known as the most overhyped film of all time. Don't get me wrong, it was good. But it certainly wasn't the best film of the year, let alone of all time.

I have much respect and high regard for the IMDB top 250. The list is full of incredible not-to-be-missed films, with The Shawshank Redemption in at top spot, and films such as One Flew Over the Cuckoo's Nest and Schindler's List in the top ten. But the placing of Inception at number 6 within barely weeks of it hitting British screens came close to discrediting the entire brand for me.

I don't deny it isn't a good film, it is. It's very good. Leonardo DiCaprio once again does himself justice and the idea of dream invasion is interesting.

But the execution is poor. And the film becomes tedious barely half way through the epic two-and-a-half hour running time.

On paper the film looks a sure success. Christopher Nolan penned the script and takes up the directors chair with a wealth of knowledge, experience and awards under his belt. He has a more than impressive resume, including huge cinema hits such as Dark Knight, as well as intelligent and thrilling cult films like Memento (which remains one of my all time favourites).

And the cast list is flawless. Leo in the lead role, supported by Marion Cotillard, Michael Caine, Cillian Murphy, Ellen Page and Joseph Gordon-Levitt. It is certainly far from a recipe for disaster.

But it feels as if everything was going smoothly until it came to actually making the film, and then all of a sudden it all imploded.

I just remain baffled by how - and more importantly, why - so many people are blown away by this film.

My main criticisms concern the length, the complexity of the storyline and the special effects.

The film is drawn out, fussy and tedious. Had they have condensed the plot and the filming - perhaps removed one layer of 'inception' - making it a tidy two hours, or less, it would have been much more enjoyable and less exhausting. It was just too much effort.

There is a fine line between a challenging and intelligent film, and one which goes too far into obscurity. Films like Fight Club have managed to achieve the right balance. Although it is complicated and in-depth, it makes sense and focuses on one layer of complexity. But with Inception, there are far too many layers.

And as for the special effects, there's only one way to explain it: OTT.

As for the acting. Leo was his usual, dreamy self and gave another strong performance. Although I think it was inferior to his other 2010 starring role in Scorsese's Shutter Island.

Marion Cotillard gave that extra dimension to the storyline, and she gave a sound performance as a haunting and seductive lover.

And Ellen Page dazzled in an unusual role. The young comedy actress has given relatively tongue-in-cheek performances in off-the-wall films such as Juno. But she shone in Inception.

However, the less said about Michael Caine the better. He didn't stumble far from his reputation as a bumbling, corny actor.

On a positive note I still find the overall idea of dream invasion and inception it self very intriguing.

The cast gelled well in the film and - on the most part - performed well.

Inception is a prime examples of working in theory, but not in practice.

Something about.. The next year in movies

I'm not going to lie and say that 2011 is going to be THE year of great films, because that's just not true. But thankfully there are some releases over the next twelve months which I am very excited about.

One of these will be in a cinema near you imminently.

127 Hours is the latest Danny Boyle masterpiece. My opinion is biased I will admit. Mr Boyle is my favourite director, and the visionary behind some of my favourite films, including A Life Less Ordinary, Trainspotting - of course - and the smash hit, Slumdog Millionaire. But there's a reason he's my favourite, and that's because he brings incredible, inspirational, sensational stories to the screen in a clever, original and exhilarating style.

I'm sure 127 Hours will be the latest in a run of hugely successful and popular Boyle movies.

James Franco plays Aron Ralston, an outdoor adventure enthusiast who becomes stuck in a canyon, alone. The infamous true story of the adrenalin junkie who spent five days trapped in the chasm under a rock in 2003 before amputating his own arm to save his life. Not only is it a phenomenal story of sheer bravery and resilience, but with Boyle behind the camera, the audience is guaranteed a fast-paced, raw and exciting film filled with shock and humour.

The film is released this weekend, and I guarantee it'll soar to box office success. Don't be surprised if Boyle, the team behind 127 Hours or Franco receive a few award nods for the long-awaited film.

Another film to look out for is something which I never thought I'd find myself endorsing.

I usually despise Liam Neeson's wooden acting and lame roles. But the trailer for Unknown has certainly done its job of making me desperate to see this film and discover what the hell happens.

With echoes of the Bourne trilogy, Unknown looks set to be a high-budget, action-packed thriller with big stunts and all-guns-blazing fight scenes.

Neeson plays a man who awakes from a four-day coma following a car accident believing someone has taken his identity, with no one knowing who he is, including his wife - Diane Kruger.

The story line is typical of Neeson, similar to his recent film Taken, and his acting is nothing out of the ordinary - weak and poor. But the trailer has got me hooked and left me wanting to know what has happened. Who is the real Martin Harris?

From the legendary double-act who brought No Country For Old Men to cinemas, comes another dramatic and intense Western film.

Western films had somewhat died out, until a new wave over recent years has begun to bring them back - none more successfully than the Coen brothers, who masterminded No Country For Old Men.

True Grit is the latest from writer-director pair, Joel and Ethan, with a stella leading duo of Jeff Bridges and Matt Damon.

Bridges steps into the role of an unlikely protagonist, Rooster Cogburn, a tough but reckless and drunk US marshall who sets out on the hunt for the murderer of Mattie Ross' father. Damon plays another marshall, intent on finding controversial Cogburn and bringing him in for a reward.

The Coen's have created another deep and complex movie, with a strong focus on the unconventional and finely detailed characters.

True Grit comes to the UK screens in February.

One film not to be missed this year is the long-awaited and highly-anticipated War Horse.

With none other than Steven Spielberg at the helm this hugely famous book and stage play will be released on screen in September.

The story centres around one boy and the unconditional love he has for his horse, Joey. Joey is sent off to join the cavalry after the outbreak of World War One and following a tough and gruelling time spent in the trenches he finds himself alone in No Man's Land. But his loyal and caring friend, Albert sets out on a journey to find and save him.

New name Jeremy Irvine will step into the role of Albert, to be supported by an experienced cast of Emily Watson, Harry Potter's David Thewlis, Benedict Cumberpatch (from BBC's Sherlock) and Toby Kebbell (of Guy Ritchie's RocknRolla).

I am intrigued to see how Spielberg will deal with this hugely popular and much-loved story.

Something about.. The Harry Potter saga

After years of insistence that I do not like Harry Potter I felt it was finally time to face it head on and discover whether I had any evidence to prove my distaste for the JK Rowling creation. And a few days off work gave the perfect opportunity for this experiment.

(I must admit that a recent trip to the cinema to see the latest HP - which left me somewhat confused - did spur me on considerably.)

Due to my major preference of DVD over book, I made myself comfortable on the sofa with a pile of films by my side and preceded to watch the entire series up until the fifth instalment. And I, surprisingly, thoroughly enjoyed them.

The stories are obviously well crafted and written (they must be to have generated so much money worldwide) and the characters are realistic and relatable. I am a particular fan of the impending love story between Hermione and Ron, which grows as they do throughout the series.

The best of British A-list cast has not been used simply for the names, but each actor gives convincing performances as the characters, including Maggie Smith, Julie Walters, Robbie Coltrane and John Cleese. But my personal favourite has to be Alan Rickman's mysterious and sly performance as Severus Snape, never quite sure whether he is bad gone good, or good gone bad.

I think there's a character for everyone in these films. Harry Potter is a tragic, lost character who is greatly courageous and brave. Ron Weasley is kind and loyal, but shy when it comes to his feelings for Hermione. Hermione is smart and intelligent, and a strong female character but shows her vulnerability through her heritage and her blood. Dumbledore is wise and powerful, and a symbol of all that is good. Snape is dark and mysterious, but shows glimmers of good and being misunderstood. The Weasley family are fun and endearing - they're just like a normal family trying to make their way in the world, with a successful eldest son, and troublesome twin boys, and a sweet and innocent daughter.

Helena Bonham-Carter, the Malfoy's and of course, Voldermort create a strong key group of 'baddies'. And the Hogwarts children represent hope and faith.

Each individual film stands alone well, with a beginning, a middle and an end. And the series flow well, and very effectively portray the three main wizards growing up and maturing. It's refreshing to see a film in which - I feel - they successfully document three children growing into adults, something which is not totally overlooked by all the wizadry, magic and drama. The actors perform their roles and enable their characters to develop wonderfully. I'm relieved that the creators - and JK Rowling - remember to depict the children facing normal everyday problems and dramas as well as battling dark lords, learning spells and trying to save the magical world, it creates much more relatable and realistic characters.

It's slightly disappointing when watching the films to see how may similarities there are with Lord of the Rings. Dobby and the giant spider are just two of many. But overall it is a good story in its own right.

One key concern when putting stories from book to film is whether they stay true to the original plot and transfer the story effectively from one to the other. Having not read the books I'm afraid I cannot critique the Harry Potter series in this light, but as individual films, separate from the books, I can safely say I found them entertaining.

I particularly enjoyed the construction and exploration of the key characters, and found myself genuinely engaged with them - something which I did not expect. I think the budding love story between Ron and Hermione is hugely intriguing and I shall remain hopeful that it blossoms into something special in the final instalment.

A refreshing and surprising outcome from watching these films has left me assured that I will be visiting the cinema to see the final film. However, I will not be queuing for days before or dressing up for the occasion.