4 stars****

If you are one of the 65 million who have read Steig Larsson’s trilogy, there is a very good chance you will have already seen the first book’s movie, in Swedish, either dubbed into English or with English subtitles. You were probably worried about Hollywood getting its hands on the stories for fear of total ruination. You need not fear, they did quite a good job.

So what’s it all about?

Disgraced journalist Mikael Blomqvist is hired by Henrik Vanger to investigate the disappearance of Vanger’s great-niece Harriet. Henrik suspects that someone in his family, the powerful Vanger clan, murdered Harriet over forty years ago. Starting his investigation, Mikael realizes that Harriet’s disappearance is not a single event, but rather linked to series of gruesome murders in the past. He now crosses paths with Lisbeth Salander, a young computer hacker, an asocial punk and most importantly, a young woman driven by her vindictiveness. Together they form an unlikely couple as they dive deeper into the violent past of the secretive Vanger family.

Daniel Craig is a good Mikael Blomkvist, better than he is a James Bond with the two roles being miles apart. Rooney Mara is a good Lisbeth Salander, but she’s a long way short of Noomi Rapace’s version. Noomi was close to the book’s heroine, but Ms Mara’s Lisbeth character has been toned down somewhat. You’ll almost wonder why the movie has an R rating, compared to the Swedish adaptation. Salander is just so much more frightening in the Swedish account.
To pull a book from 500 pages and turn it into a movie at just over 2 ½ hours is difficult. The screenplay writer has a tough call on what to leave out. If you’ve read the book you will notice that Lisbeth’s security company hardly gets a mention and the mixing of the girl in London with the girl in Australia saves time and money.

The wonderful (now deceased) book author Steig Larsson has said in an interview that he viewed Salander’s character as an adult version of Pippi Longstocking. Larsson obviously has more imagination than most who have read Astrid Lindgren’s wonderful tales.

The alternative poster drove up the hype that this movie would be explosive, but it skimmed along that level. For those expecting plenty of violence, it is more implied than seen. For those expecting a sexy movie, this initial teaser poster has more sex in it than the movie suggests. You will probably have seen more in a thirteen rated movie recently. It’s only the scenes they talk about in the movie that move this to an R rated arena.

As a standalone movie, this Dragon film does well. It’s difficult to fault and builds the level of suspense you would require to be a worried audience member, but if you read the book first then you would already have a movie in your mind. If you have seen the Swedish version after reading the book, this movie will leave you wanting more, much more.

The story delves more into violent forms in books 2 and 3. You will look forward to seeing how the director and actors cope with the level of blood and gore on screen. There are sure to be two more movies to complete the trilogy, unless the 4th book is completed; then more delights will follow, but who will win the rush to promote the movie first?

5 stars*****

The generous cast list might draw you to this movie, but the dolphin and the boy steal the scenes so consistently, the celebrity names weren’t required. If you like tears with your movies, then this Dolphin Tale is the best two hours of 2011.

So what’s it all about?

A lonely and friendless boy finds and untangles a hurt dolphin that is caught in a crab trap. He becomes very attached to the dolphin when the tail must be taken off to save the dolphin’s life. The boy believes the dolphin would be able to swim normally if it was given a prosthetic tail.

Karen Janszen and Noam Dromi have written a by the book Blake Synder special screenplay. They took the original story – which was quite something anyway – adding a boy and a financial crisis to draw the heartstrings even further, and have hit each page of Synder’s Save the Cat screenwriting 101. They’ve collected every idea possible and thrown them into the cook book – then failed to throw any out of the melting pot.

The audience will know what’s going to happen next all the way through the nearly two hours of this tale of hope and desperation.

This movie is surely the best family movie of the year. Even those with the hardest looking tattoos will be finding it difficult to fight back the tears even though you know the outcome will be good.

If you didn’t love dolphins before this movie, then you surely will as you leave the theatre. While not sure if animals can receive awards, Winter deserves the statue, ahead of acting friends Harry Connick, Jr., Nathan Gamble, Ashley Judd, Kris Kristofferson, Morgan Freeman and Jim Fitzpatrick.

If ever you need a way to bring your family together, rent or download the DVD.

4 stars****

Modern American society should be ashamed that a movie like The Help needs to be made. Showing when history went down a dreadful tunnel and that spirit cannot be broken, this well made movie should make you pick up the book (or your Kindle) and read for greater detail.

So what’s it all about?

Set in Mississippi during the 1960s, Skeeter is a southern society girl who returns from college determined to become a writer, but turns her friends’ lives — and a Mississippi town — upside down when she decides to interview the black women who have spent their lives taking care of prominent southern families. Aibileen, Skeeter’s best friend’s housekeeper, is the first to open up — to the dismay of her friends in the tight-knit black community. Despite Skeeter’s life-long friendships hanging in the balance, she and Aibileen continue their collaboration and soon more women come forward to tell their stories — and as it turns out, they have a lot to say. Along the way, unlikely friendships are forged and a new sisterhood emerges, but not before everyone in town has a thing or two to say themselves when they become unwittingly — and unwillingly — caught up in the changing times.

Civil rights in the US were set for change in the 1960s, just a couple of hundred years too late. This movie exposes the racism faced by families as they tried to live lives dominated by another race. The few that tried to cross the block faced the wrath of both sides.

This slow starting movie gathers pace in its second hour as reality hits home to all involved. At the time, people perhaps don’t know how much the future was going to change, but change was inevitable.

Kathryn Stockett’s novel is a masterpiece, which her friend Tate Taylor turns into one of the year’s best movies. Well acted throughout and presenting a balanced view of all sides of the equation, it allows you to sympathise with the winning team, but never allows a moment of sympathy with the leading antagonist, as she fails to eat humble pie.

Sissy Spacek is in fine form as she turns the tables on her horrific daughter. The daughter plays the part so well it’s difficult not to believe that this portrays reality, not another farfetched story.

Viola Davis and Emma Stone turn in wonderful performances that wouldn’t be out of place on the list of top ten actors, come the early 2012 for 2011 awards.

3 Stars***

The British teen comedy had proved to be a sensation in its thirty minute television regular slot. Unfortunately, over ninety minutes it loses its quick biting punch and although the jokes are there, a feeling of blandness creeps in. I so wanted to enjoy this movie after the television series, but found it was only just watchable.

So what’s it all about?

The film follows the misadventures of a group of teenage friends on holiday in Crete after the end of their final year at school together, and serves as an ending to the TV series.

The movie is very typically British, especially when they add in the teenage Brit on holiday in Greece, Spain or anywhere drinks are cheap and plentiful.

The four stars are mostly consistent with their television characters so Simon Bird, Joe Thomas, James Buckley and Blake Harrison can only blame the directors or the screenplay writer for leaving them in the middle of no-where.

Without giving away the ending, the particular traits of each character is broken in the last few scenes. While this feels a little disloyal to the series, it does roll into a natural progression for teenagers of their age and perceptions.

They next film will follow them a few years later. It will be interesting to see how the boys have developed during university and first job stages, but I guess they’ll still brag about their nonexistent conquests with women, who are treated so poorly, particularly by the dialogue, but that’s what makes it so funny.

The producers will be pleased, though. With a small budget of just £3.5 million, they’ve taken over £45 million at the box office (£25 million in the UK alone) and with the DVD becoming available two weeks before Christmas, it’s sure to sell well as a nice gift for your grandparents; just tell them to turn the volume off. The language is appalling all the way through – so it’s a guaranteed laugh for most.

The excellent Kierston Wareing continues to shine as this movie, The Holding, is less horrific and less gory than you’d expect, (you see the action, but not in graphic detail – the camera moves on after you know what happens) which bodes well for this thrilling drama. Initially on a small distribution release aiming at the opinion of the Nottingham and Derby people in England (why those great towns specifically?) what appears to be a slow start lulls you into a sense of oncoming doom, which duly appears in startling fashion just ten minutes in.

So what’s it all about?

A heart-pounding suspense thriller set in the rugged and atmospheric Derbyshire landscape. Cassie Naylor’s husband Dean has mysteriously disappeared and now she’s desperately trying to run their isolated farm alone with her two girls. An enigmatic stranger arrives at the smallholding, claiming to be an old friend of her husband. Aden knows all about the family, surprising personal details, and soon charms his way into their lives. But unknown to Cassie, Aden’s altruism has a sinister edge.

The lack of early dialogue has the audience wondering what’s going on, but don’t worry, it’s all explained, gradually. The film progressively draws out its secrets in an excellent screenplay by James Dormer who chooses to write like an independent, rather than a Hollywood studio express.

With excellent direction by Susan Jacobson, the small cast make the most of excellent location of British farmlands, suggesting the Peak District, which might explain the initial screenings.

Kierston Wareing is almost hidden in her brown hair, such a change from her usual blond look. The Leigh-on- Sea, Essex girl starred in Ken Loach’s film ‘It’s a Free World’ as Angie. She has also played in Andrea Arnold’s ‘Fish Tank’ (2009) and Martina Cole’s ‘The Take’. She has been nominated for one BAFTA award and two British Independent Film Awards. Her acting skill in this movie is so good you side with her despite the attempted murder of her husband and potential lover, with the approval of her children.

There’s a thought to mention this movie in connection with traditional pieces like Straw Dogs, but The Holding is placed in the thriller genre, not the blood smattered variety. They just both happen to use isolated landscapes with farm buildings.

The movie was also, quite brilliant. Director Sam Peckinpah made a film that hit you like you’ve just walked into a fast train. You gripped the theater seat to ensure your own safety.

Dustin Hoffman played the part of a man mouse whose motivation caused his character arc to change to man mountain. He was going to defend his wife, whatever the consequences.

The director also wrote the screenplay, which stands the test of time to make magic on the screen.

Susan George became the face to be seen leading her to a series of quality films. So realistic were her rape scenes that many thought they were true rather than acted.

The movie was banned for a while, but this only proved to hype it further. Looking at it today, it’s no longer the shock film it was back 40 years ago as we’re beaten with similar shock tactics on a regular basis. What the studios can do with CGI, special effects and our mind goes beyond the pale.

So why make an updated version? I really can’t see the point. It almost certainly can’t be bettered, which leaves it struggling from the get-go. There are enough great screenplays of movies not yet made that we don’t need to rehash the past. For no particular reason, the location has changed as has the occupation of the man-mouse.

I haven’t seen it yet and I hope they’ve completed a great job, but what chances have they of beating the original: none. They could have built a few elementary schools with the budget. I’ll go see and try not to pre-judge, but that’s a difficult ask when a new movie could have been made. I suppose all of us who saw the original will go if we’re still alive now and a new audience might be tempted to download the original.

I wouldn’t mind, (yes I do actually,) but they’ve used the same film poster with minor changes. Why, oh why?

4 stars****
The cast list tells you this is going to be good and when that’s mixed with the writer, you know you’re on to a winner. The only disappointment with Page Eight is the length; it could have been three hours as opposed to one hundred minutes and every minute would have been as thoroughly entertaining.

So what’s it all about?

Johnny Worricker (Bill Nighy) is a long-serving MI5 officer whose closest friend is also his boss, the Director General of MI5, Benedict Baron (Michael Gambon). Baron dies of a heart attack at his country home where he lives with his wife (Johnny’s ex-wife) and step daughter (Johnny’s daughter). Baron’s death comes shortly after distributing a highly explosive report to two MI5 officers (Worricker and Jill Tankard Judy Davis) and then sharing it with the Home Secretary. At the meeting with the Home Secretary (Saskia Reeves,) Worricker verbally highlights a note at the foot of page eight alleging that the Prime Minister is aware that the US administration has been torturing prisoners in secret overseas prisons.

The screenplay is simply brilliant. The dialogue between actors ranks at an all time high. The delivery from Bill Nighy puts him in the Michael Caine class alongside Jodie Foster and Bob Hoskins. Quite simply, he runs the show, steals the show and presents an award winning performance made easier with the superiority of the words provided.

Felicity Jones continues her rise to the top of her trade. Among such high quality actors, she stands out even with the small emotional part in this film.

If ever you feel you know what’s going on between government and MI5 and between the USA and the UK, then Page Eight blows all that away and gives you a full picture which is totally believable.

It’s possibly a substantial dig at the worst prime minister the UK has seen in the last hundred years so many will see this as warranted. Writer Sir David Hare captures the mood of the nations with excellent due diligence.

Let’s hope this starts a franchise of at least three more involving this cast and crew.

3 stars***

The screenplay, under its former title, is available all over the place on the internet. Presumably the listings spaces will be happier with ‘Friends with benefits’ for publicity. The screenplay moves along well although you shouldn’t expect this to be a Shakespearian masterpiece.

So what’s it all about?

While trying to avoid the clichés of Hollywood romantic comedies, Dylan and Jamie soon discover however that adding the act of sex to their friendship does lead to complications.

The screenplay, written by Keith Merryman, David A. Newman, Will Gluck and Harley Peyton hits all the high notes you hope for and doesn’t waiver from any expectations during its ninety minute pursuit of exactly what you anticipate. You know the ending five minutes after the movie begins. You know just when the problems will occur and how they’ll be solved, but you watch on anyway, hoping for a flash of the lead actress in action.

The interplay of dialogue is wonderful and worth the ticket price alone, but do people ever talk this way in real life and remain friends let alone seeing each other after the first meeting?

Mila Kunis is excellent in her role as a slightly crazy person. I’m unsure if she’ll find true romance anywhere, given her anxieties, but it’s good to know that if she can settle down, then anyone can.

It’s always so amazing that when sex buddies are lined up, they always look so amazing. Doesn’t it ever happen to the rejects from life’s cheerleading squads?

Mil Kunis has taken a number of different roles to give variety in the choices and should allow her a long career without closing off opportunities to a particular role. We liked her in Forgetting Sarah Marshall, she excelled in Black Swan and next stop we’ll see her in the Muppets. She must be ready for her first ‘James Bond’ role.

All through you’ll see the actors just having fun and without taking the motives of the movie too seriously because it’s here to make you laugh as much as ensure you wished for the same scenario when you were young enough to know better.

We’re all worked for Horrible Bosses at some stage of our careers, even if you count the time we turned burgers for what was called a living wage. Seeing them on the screen receiving their just deserts is a nice way to agree with the murdering motives of our three heroes.

So what’s it all about?

For Nick, Kurt and Dale, the only thing that would make the daily grind more tolerable would be to grind their intolerable bosses into dust. Quitting is not an option, so, with the benefit of a few-too-many drinks and some dubious advice from a hustling ex-con, the three friends devise a convoluted and seemingly foolproof plan to rid themselves of their respective employers…permanently. There’s only one problem: even the best laid plans are only as foolproof as the brains behind them.

The screenplay by Michael Markowitz, John Francis Daley and Jonathan Goldstein makes for a good read without seeing the finished movie. Each of the characters has a definite personality that differs completely from the three on their side: horrible boss of defenseless worker.

The press will have a field day with Jennifer Aniston playing a female boss who exerts sexual stress on her workers. Just having her say the sexual references and cursing will appear due motive for her hair to be dyed a different color from her other movies to differentiate. I do wonder how many would have wanted the sexual harassment from such a stunning boss, but then that’s the point in turning the story full circle. If a man commits the crime we all shout, but if a young lady consigns the offense, then…

The story is quite amusing, but predictable. However, the twists on the expected do allow for more humor and give the actors something of a story rather than a few bare laughs thrown together. It’ll warrant a second watch when it reaches cable.

More often than not, these blockbuster Hollywood movies leave you disappointed and asking what did they spend a couple of hundred million on? With Rise of the Planet of the Apes they get it just right with an audience leaving the theatre pleased with their ninety minute entertainment.

So what’s it all about?

A single act of both compassion and arrogance leads to a war unlike any other — and to the Rise of the Planet of the Apes. The Oscar-winning visual effects team that brought to life the worlds of Avatar and Lord of the Rings is breaking new ground, creating a CGI ape that delivers a dramatic performance of unprecedented emotion and intelligence, and epic battles on which rest the upended destinies of man and primate.

Writers Rick Jaffa and Amanda Silver get the screenplay spot on. It takes us through the journey that leads us to exactly where we need to be; in waiting for the first Planet of the Apes film which, no doubt, will be remade now by this team.

The sympathy lies with the apes after the treatment we see to belittle them. This ties in exactly with the opposite treatment of the humans in the follow up, the first film.

The acting is good throughout although Freida Pinto isn’t given the greatest lines to portray. The skill of the actors is best seen within the ape characters; we entirely forget they’re humans inside brilliant CGI.

The powerful music by Patrick Doyle adds to an ambiance that brings together the senses of sound and sight to form a masterpiece that I’d watch over and over again as opposed to the stilted racism of Avatar where the white man saves the world yet again.

I for one and I’m sure there are plenty of others with me on this, can’t wait to see the next in this series, but we’re all hoping they stay with the high morals attributed to Rise of Planet of the Apes.