Pixar’s underwater tale, even after multiple viewings, is still a visual delight: the animation is exquisite, the script crisp (“Fish are friends, not foodâ€) and it remains a poignant examination of “letting go†of your children.    Â
The critics haven’t been universally kind to Baz Luhrmann’s The Great Gatsby. Anthony Quinn, The Independent’s film reviewer, sums up the criticism: “It has energy, but not subtlety; dazzle, but not depth.” As a filmgoer it is not what you want to hear; as an advertiser it is exactly what you want to hear. Â Â Â Â
Roger Michell’s unofficial sequel to The King’s Speech has Bertie and the Queen Mum visiting Franklin D Roosevelt (Bill Murray) at his mother’s country mansion.
“I’m always in somebody’s way,” laments Mark O’Brien, a California-based poet and journalist who contracted polio as a child and was confined to an iron lung for the rest of his life. Â Â Â Â
“Today is a day of big decisions,†Billy keeps claiming.
Tom Hooper’s quasi-operatic mega-musical is loaded with major historical events, weighty themes, tragic deaths and symbolic rebirths, so it’s no wonder that the film version of Les Mis gets so exhausting, especially in the static, unspectacular second half. Â Â Â Â
“I’m not OK, they want to kill me,†pleads Stephen Moyer to his best pal, Michael (Jack Davenport). Who are “they� Vampires, of course.
Dustin Hoffman’s corny directorial debut is more suited to TV than film, but it does benefit from the poignant performances of Tom Courtenay and the peerless Maggie Smith.    Â
The business jargon is preposterous and the American CEOs laughable in Alain Corneau’s Paris-set corporate thriller. Â Â Â Â
Aaron Eckhart tries his best with this weak Taken/Bourne-like thriller, but the engaging action man and his pronounced chin sag a little as the chase sequences mount up and the villains become ever more irrelevant. Â Â Â Â