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What happens when you take Marvel's cinematic, box office busting staples like Iron Man, Captain America, Thor and The Hulk and cram them into one 142 minute offering?

Thanks to the cool-headed Joss Whedon, you get a classic summer blockbuster.

Avengers Assemble (or merely The Avengers outside of Blighty's shores) delivers action, adventure, pathos and comedy at every turn; refusing to relent as the heroic protagonists overcome their disharmonious meetings to become a superteam aimed at stopping the devilish Loki from over-taking Earth with an alien invading force.

Despite a plethora of larger than life characters vying for screentime, director Whedon keeps an even-hand to give each fanboy favourite the right amount of coverage while never straying into laborious monotony when it comes to the narrative.

A far cry from DC's dark aesthetic, Whedon wears his colour and humour with pride; occasionally spilling into overt comic moments which help rather than hinder an explosive premise.

Fans of the previous Marvel movies are sure to lap up the over-the-top action and adventure, with all cast members on top form.

And with the typical teaser for future adventures expanding Marvel's universe further, don't expect the comic fervour to die out anytime soon.

 

8/10 - Marvel-ous.

NB - Sit through the initial closing credits for a tidbit of extra comic fun, but don't bother waiting through the scrolling credits.

No cut is the deepest

HORROR goes immersive next week when fright-fest Silent House comes to cinemas.

Filmed in real-time with no cuts, the chilling tale follows twenty-something Sarah (Elizabeth Olsen) as she helps her father and uncle repair their old, run-down, isolated family holiday home nestled deep in the middle of nowhere.

With the derelict property suffering from boarded-up windows and no electricity, progress goes slow.

But after Sarah starts hearing noises as if someone else is in the supposedly abandoned house, she soon finds herself trapped, hunted and desperate to escape.

Can she evade the mysterious presence, or will she fall victim to it?

Gimmick over ingenuity?

While sounding initially like gimmick over ingenuity, this remake of Latin American 2010 original La Casa Muda is certainly an impressive technical achievement.

‘Real-time’ movies may not be new, but offerings which refuse to cut away are few and far between; often feeling more like a filmed play rather than an absorbing cinematic experience (Hitchcock’s Rope a prime example).

With its docu-style camerawork providing the opportunity for uninterrupted scares, and the placing of the audience as a reluctant companion throughout Elizabeth’s ordeal, the technique is certainly filled with potential.

Unfortunately, the novel nature of shooting fails to paper over the fact that Silent House is essentially a generic, run of the mill horror.

Classic horror conventions

Following a painfully blatant affirming of classic horror conventions all delivered in rapid succession (house is boarded up like a prison because of vandals, no phone signal to call for help, etc), the first half quickly descends into familiar (but enjoyable) stalk-and-slash territory complete with expected tight close-ups on our scared protagonist.

Directing duo Chris Kentis and Laura Lau (who previously brought low-budget Open Water to the big screen) draw on the classic assortment of boo-scares, bumps in the night, and ‘what was that’ moments to marry a predictable plot with the ‘never look away’ format.

But a tone-shifting third act fails to build on the momentum, instead derailing the carefully established slow-building tension before offering a divisive twist which will either satisfy or destroy the audience’s patience for being so immersed while dragged along for the (thrill) ride.

Keeping things credible is rising star Elizabeth Olsen who impresses from the outset, carrying the film (literally) on her shoulders as she rarely leaves the frame throughout the 85 minute runtime.

But despite her impressive turn (which is worth the price of an admission ticket alone), in more confident hands and with a tighter script Silent House could have taken up residence as a true horror classic.

 

6/10 - Look who’s stalking.

 

Silent House will be released in the UK on May 4.

Amidst the brash big-budget, 3D blockbusters filling the multiplex, a quiet monochrome marvel is making a big noise.

The culprit? The Artist – a hark back to Hollywood’s pre-sound motion pictures written and directed by France’s Michel Hazanavicius.

Set during the late 1920s/early 30s, the familiar plot surrounds the advent of sound in the movie business, and the move from silent films to ‘talkies’.

While the career of silent-staple George Valentin (Jean Dujardin) begins to crumble, feisty Peppy Miller (Bérénice Bejo) is rocketed to stardom as the face (and voice) of the new phenomenon.

Refusing to accept the change and stop fighting the progress of technology, George finds himself cast out of the movie business.

But can Peppy help him capture his former glory?

Execution over substance

The topic of talkies ripping up the Hollywood rule book is certainly nothing new. But it is the execution of The Artist which makes it a film to be noticed.

Devoid of sound (more or less) throughout its 1 hour 40 minute runtime, Hazanavicius’ devotion to the period and the format – right down to the 1.33:1 screen ratio – captures the essence of the period perfectly.

Pitch-perfect set pieces and 30s style humour ring with authenticity, while distancing the movie from being some kind of indie art project.

On the limited occasions sound is used, it certainly makes an impact 

A heavy-handed dream sequence jolts the audience as much as the frustrated protagonist, while a (spoiler alert) classic Hollywood ending is sure to leave a smile on viewer’s faces.

Confident cast

The bold decision to remove dialogue puts a lot of responsibility on its muted leads, but the international cast more than rise to the occasion.

Bejo’s gumption-fuelled and kind-hearted Peppy emotes admirably; always telling her story through expression more effectively than when on-screen captions are introduced.

Likewise for the supporting cast of Hollywood faces ranging from James Cromwell to Missy Pyle, who trowel on the performance to break through the lack of audio.

But the star of the show is undoubtedly Dujardin.

Lying somewhere between Douglas Fairbanks and Gene Kelly, his transformation from charismatic star, to optimistic outcast, to depression-ridden wreck is transfixing throughout.

Whether intended as a critique on the lost art of film-making in Hollywood, an observation on the advancement of technology (the current 3D obsession an easy swap for the advent of audio), or merely sheer entertainment, The Artist achieves the rare by offering an engaging and genuinely enjoyable film experience.

But as novel it may be, don’t expect it to herald a silent revolution

 

8/10 – Deafeningly delightful.

 

ENERGY hungry aliens descend on Moscow this week in 3D invasion flick The Darkest Hour.

When American software developers Sean (Emile Hirsch) and Ben (Max Minghella) visit the Russian capital for a business meeting, a bungled deal finds them drowning their sorrows in a Moscow nightclub with tourists Natalie (Olivia Thirlby) and Anne (Rachael Taylor).

But their trip goes from bad to worse when invisible aliens begin turning revellers into dust.

Stranded in Russia with no method of communication, the group attempt to find other survivors in the derelict city.
But with only electrical items proving to be an early warning system against the unstoppable invaders, can they survive?

Chris Gorak may not seem the first choice for an epic scale, special effects laden extravaganza considering he only has the microcosmic low-budget bomb fear flick Right At Your Door on his directorial CV.

Sadly, even with Timur Bekmambetov - the OTT director behind such visually excessive fare as Night Watch and Wanted - donning his producer's hat for solid support and a gaggle of Hollywod's up-and-comers, Gorak's sci-fi take fails to live up to expectations.

A promising start at full-throttle quickly declines into a snails pace, as an often seen 'traipse across a deserted city' becomes as aimless as the plot.

Innovative threats, such as danger of daylight, are touched on but never really exploited; while clumsy exposition and a crude tonal shift from reailty-based fears to computer game gunplay is jarring.

The acting also fails to impress.

A usually on-form Hirsch occasionally stumbles into over-acting mode, while Thirlby fails to effectively convince as a female lead.

But that is mostly down to a repetitive script (run, hide, mourn; run hide mourn, etc) rather than the protagonists' shortcomings, and is balanced by the rest of the troupe.

Filmed in eye-gouging 3D using specialist cameras rather than opting for the often inferior conversion process, TDH also struggles to stun visually despite plenty of alien-invading scope and body-turning-to-dust potential.

But the occasional out of focus shot pales in significance to the disappointing aliens once they are finally revealed, as shoddy CG and uninspired creature design culminate in an under-whelming nemesis.

Where The Darkest Hour excels is in the stunning locations.

The relatively cinematically unused Russian city goes beyond simple Kremlin shots (although they are included) to offer impossibly abandoned street shots secured courtesy of the powerful producer.

While CG enhancement is apparent, Moscow has never seemed so eerily quiet, ramping up the isolation successfully.

As a piece of mindless fun The Darkest Hour is sure to meet most requirements - alien peril, mass devastation, etc.
But despite such a visionary producer and an accomplished cast on board, it certainly isn't out of this world.

5/10 - Dim.

2011 saw superheroes hammer their way into the multiplex, monkeys rise again to take over the planet, and Harry Potter finally lay down his wand once and for all.

Although the occasional British offering and fresh indie fare added glimpses of originality, sequels, remakes, reboots and adaptations dominated cinema screens.
And 2012 looks set to continue the trend.

Comic gold

Following leaked on-set videos, fanboy-exciting promo shots and two tantalising teaser trailers, The Dark Knight Rises will finally make it to the big screen on July 20.

Set eight years after the critically-lauded and box office busting Dark Knight, Christian Bale's Batman faces off against the towering Bane (Tom Hardy) in this trilogy closer with director Christopher Nolan somehow still managing to keep a tight rein on plot-spoilers.

Featuring Anne Hathaway as Selina Kyle (aka Catwoman) and a host of Nolan regulars, hopes are high it will live up to its award-gobbling predecessor.

But Batman is certainly not the only graphic novel inspired offering set for 2012, with rival publishers Marvel preparing for another bumper year.

Crank directors Mark Neveldine and Brian Taylor will be whetting appetites with their reboot Ghost RIder: Spirit Of Vengeance on February 17 (promising a more edgy and insane style) before the big event: The Avengers.

Opening on April 27, director Joss Whedon will be wrestling a wishlist of icons under control including Thor (Chris Hemsworth), Captain America (Chris Evans), Iron Man (Robert Downey Jr) and The Hulk (Mark Ruffalo) into a superhero smack-down of epic proportions as the band of heroes attempt to save the Earth from extraterrestrial invaders.

But whether the Buffy helmer can juggle the juggernaut of characters remains to be seen.

Another reboot will see The Amazing Spider-Man (July 4) reimagined in 3D with Brit Andrew Garfield doing the web-slinging and Rhys Ifans bringing The Lizard to life, while Disney may have a potential franchise spinner on their hands in Edgar Rice Burroughs' 'cowboy on Mars' fantasy John Carter (March 9).

But one adaptation set to have Tolkein-ites salivating throughout 2012 is Peter Jackson's return to Middle Earth with The Hobbit: An Unexpected Journey (December 14).

Back to Hobbiton

Splitting the Lord Of The Rings prequel into two films (with the concluding part scheduled for 2013), the initially troubled production is well underway with Martin Freeman donning the furry feet as young Bilbo Baggins and Ian McKellen reprising his role as Gandalf as they join a band of dwarves to reclaim their treasure from Smaug the dragon.

With teaser shots affirming the sweeping aesthetic remains intact, any fears Jackson may have lost his touch have certainly been allayed.

Prequels (of a sort) continue with Ridley Scott's Prometheus (June 1), which sees the sci-fi godfather return to his Alien universe with a band of space explorers attempting to discover the origins of mankind.

A sterling line-up including Michael Fassbender, Noomi Rapace and Charlize Theron head up the cast, which is rumoured to touch on the infamous xenopmorphs, but focus on a greater and more treacherous threat.

Whatever the plot, early footage looks epic and terrifying.

Tween fodder

Vampire-loving tweens may be lamenting the closing chapter of their beloved Twilight Saga in Breaking Dawn Part 2 (November 16) this year, but relief comes in the form of The Hunger Games (March 23) based on the generation-spanning books by Suzanne Collins.

Set in the future where teenagers are selected to fight to the death live on TV, expect at least two follow-up films.

And Twilight's Kristen Stewart will be taking on the titular role in Snow White and the Huntsman (June 1) - the action-orientated incarnation of the beloved fairytale released after Lilly Cole's more family friendly interpretation Mirror Mirror (March 16).

Sequel fever knows no genre boundaries throughout the year as zombies return in Resident Evil: Retribution (September 14), Jeremy Renner rekindles the Bourne Legacy (August 17), Bond is back in Skyfall (October 26), toy-tastic action is greenlit in GI Joe: Retaliation (June 22), The Expendables 2 (August) reunites ageing Hollywood hard-men, cool kid-friendly CG fun comes courtesy of Ice Age: Continental Drift (July 6) and Liam Neeson contends with kidnappers once again in the as-yet untitled sequel to Taken (October 5).

Thankfully there are some original movies in 2012.

Pixar will be offering respite from the rampant sequelization with Brave (August 17) - a Scottish based fantasy following a young girl attempting to break a mystical beastly curse.

Brimming with the kind of lush visuals you would expect from the animation super-power and with the vocal talents of Kelly MacDonald and Emma Thompson, this classic tale could be another age-defying winner.

Drama fans are also catered for this year with Baz Luhrmann tackling an adaptation of F Scott Fitzgerald's dramatic romance The Great Gatsby (December 25), with an enviable cast including Leonardo DiCaprio, Carey Mulligan and Tobey Maguire bringing the tale of opulence and tragedy to life.

And DiCaprio takes on a very different role as the villainous Calvin Candie in Quentin Tarrantino's western-cum-slavery-revenge flick Django Unchained (December 26), backed-up by an equally star-studded cast featuring Joseph Gordon-Levitt, Kurt Russell and Samuel L Jackson.

Despite Hollywood's incessant remake/sequel reliance, a plethora of action adventures, comedies, horrors, sci-fi offerings and award-attracting dramas scheduled for the year will certainly ensure 2012 will be another bumper year at the box office.

 

12 more films to watch out for in 2012...

The Muppets (February 10)

Hansel and Gretel: Witch Hunters (March 2)

Wrath Of The Titans (March 30)

The Cabin In The Woods (April 13)

Dark Shadows (May 11)

The Dictator (May 18)

Men In Black III (May 25)

Abraham Lincoln: Vampire Hunter (August 2)

Total Recall (August 22)

Dredd (September 20)

Les Misérables (December 7)

Life Of Pi (December 21)

 

DOWNEY Jnr and Law team up once more for some Victorian action-tinged crime-solving in Sherlock Holmes: A Game Of Shadows.

While Dr John Watson (Jude Law) is busy preparing to marry his fiancee, his eccentric detective friend Sherlock Holmes (Robert Downey Jnr) has become obsessed with a criminal mastermind, who he believes to be the highly respected Professor James Moriarty (Jared Harris).

As tensions in Europe reach boiling point due to deliberate bombings, Holmes deduces the Professor may be pulling the strings behind the attacks. 

But to what end?

As gypsy Simza Heron (Noomi Rapace) becomes embroiled in the mystery, Holmes soon finds this may be a case he cannot solve alone.

Space for a sequel? 

Director Guy Ritchie’s reimagining of Arthur Conan Doyle’s beloved Baker Street detective became an unexpected Box Office smash when it released in 2009.

Combining bromantic comedy with buddy-cop sensibilities, its ‘Victorian Lethal Weapon’ angle complete with Ritchie’s stylised camerawork and luscious set pieces made it ripe for sequelisation.

With the seeds of Moriarty already planted during the first outing, A Game Of Shadows seemed obvious in its villain - Holmes’ classic literary nemesis.

But could the delicate balance of quirky characters and riveting plot survive another bout?

Fans of the original can sigh a breath of relief as the frictional but fond relationship between Holmes and Watson remains.

Downey Jnr’s wild-eyed turn in the titular role continues to suit, while Law’s patience-losing  sidekick allows for comedy and pathos.

But it is the new gaggle of characters, which adhere to the sequel rule of ‘same but more’.

A mildly beefier part for Kelly Reilly as Watson’s wife-to-be (and Holmes’ competition) adds more narrative meat to the bones (as does a strong but underused stint by Noomi Rapace), but it is Stephen Fry as Holmes’ brother Mycroft who injects much-needed giggles to balance out Harris’ sinisterly ruthless turn as Moriarty.

Whether dishing out mercilessly strategic hits, or getting his hands dirty in some harsh torture, Harris delivers amiably (though stretches the 12A rating to make it far less jovial crime-fighting adventure).

Struggling script

But it isn’t all smooth sailing for the London detective.

The element of mystery, which was so prevalent in the first outing, is sadly gone in favour of smaller quandaries to quickly dispense with as the ultimate goal of Moriarty is pursued.

Lacking that clue-solving thrust, the film falls back on generic action over elaborate puzzle-solving, which along with some heavy-handed exposition, makes for an occasionally clunky script.

Nevertheless, Sherlock Holmes: A Game Of Shadows still delivers a hefty dose of period pleasure, which elementary dictates may still offer enough scope for further mystery-solving mayhem.

 

7/10 - Sharp Sherlock shenanigans.

ROM-COM fans rejoice! King of the genre Garry Marshall is back with his latest ensemble mash-up in the distinctly seasonal New Year’s Eve.

Set over the course of New Year’s Eve, a gaggle of love-struck revellers in NYC find their stories over-lap as they deal with their end of year tribulations.

From Randy (Ashton Kutcher) the holiday hater who finds himself stuck in an elevator with singer Elise (Lea Michelle), to singleton mother Kim (Sarah Jessica Parker) whose daughter Hailey (Abigail Breslin) is more interested in spending the end of 2010 with a boy than her, it appears New York city is filled with a plethora of people looking for love.

Whether its rock stars trying to unite with exes, or timid wallflowers trying to tick off their resolution list before it’s too late; everyone has something they need to do before 2012 begins.

But with the countdown to midnight ever ticking, can the disparate group of New Yorkers find their true love before the ball drops in Time Square?

Template transposing

More template transposing than seamless sequel, director Gary Marshall’s follow-up to 2010’s Valentine’s Day sounds like a romantic-comedy fan’s mushy mecca.

But while perfect on heart-shaped paper, the Pretty Woman/Runaway Bride helmer may have bitten off more schmaltz than he can chew.

A grade-A cast of Oscar winners (Halle Berry, Robert de Niro, Hilary Swank) and cinematic stalwarts (Michelle Pfeiffer, James Belushi, et al) rub shoulders with rom-com regulars (Katherine Heigl, Josh Duhamel) and rising stars (Lea Michelle, Zac Efron).

And with all cast doing the best they can with their limited screen time - including an on-form Jon Bon Jovi appearing strangely more at home in a love tryst than miming on stage - there is little to fault.

Unbalanced

But it is the it is the combination of the story strands which stutters rather than blinding the audience with star-wattage.

Harsh cuts feel abrupt as Marshall attempts to wrangle multiple narratives into a restrictive two hour runtime.

Never resting long enough on each individual to truly empathise with their stereotypical and predictable tale, he also places harshly contrasting tales together which jar, such as an agonizing account of a cancer victim pouring out his heart swiftly followed by jovial shenanigans in a lift.

Revelling in its seasonal setting, does it meet the mark of the American Love Actually? Not quite.

But while it lacks the smart charm of the Richard Curtis’ neatly packaged present, New Year’s Eve still goes off with a bang for fans of the genre, making it a new acquaintance which need not be forgot.

 

6/10 - Slushy but solid (rom-com devotees add another point)

SNOWY scenes and big surprises? No, it’s not another Christmas movie. Instead it’s a paranoia-filled fright fest in prequel The Thing.

After an alien entity is discovered frozen in the Antarctic ice, scientist Kate (Mary Elizabeth Winstead) is called to join a remote Norwegian outpost to help safely remove the inhuman being.

But the sinister creature is not as dead and helpless as suspected, and soon uses its shape-shifting mimicry to attack the isolated party.

With no way of determining who is human, can the group survive the night?

Sci-fi classic

John Carpenter’s 1982 sci-fi-horror remake The Thing remains an effective and influential movie to this day; ticking off a plethora of deep-seated scare types ranging from the ‘hidden enemy’ and fears over isolation, to body shock courtesy of chillingly realistic animatronics.

So to even contemplate tackling a staple of the genre begs the question: why bother?

Thankfully, director Matthijs van Heijningen Jr. approaches his incarnation - set before the opening scenes of the 80s Kurt Russell shocker in the Scandinavian outpost featured in the original - with the same stringent veneration as the hoards of horror fans who balked at the notion of returning to scares in the snow.

Eric Hesserer’s script adheres closely to what we learned about the Norwegian camp back in 1982.

Questions surrounding a deformed two-headed beast burned to a crisp, and that axe in the door are answered in this retrospective, with enough careful treading to satisfy.

But this is what also hinders The Thing 2011.

While its predecessor revelled in raising these disconcerting questions to fuel scares and create an unnerving mystique, by strictly filling in the gaps so eloquently left open van Heijningen Jnr makes a rod for his own back - forced to obey the tentpole rules left for him, with little room to manoeuvre.

Surprises

That isn’t to say there isn’t some space for surprises.

The paranoia remains, though is comparatively dialled down to make way for CG laden shocks (which despite lacking the drippy, tangible dread of the source material’s puppetry still packs a grim punch) and a sci-fi third act which secures Winstead’s strong female lead as more Ripley than Russell-replacement.

But despite the obvious reverence and respect for Carpenter’s classic from the opening shot right through to the end, The Thing 2011’s narrative restrictions and familiar aesthetics affirms its place as companion piece over out-and-out solo sensation.

 

6/10 - I'm dreaming of a fright Christmas.

CINEMA’S most enigmatic blonde bombshell is the study of this week’s biopic My Week With Marilyn.

When young Colin Clark (Eddie Redmayne) relentlessly persues a job at Sir Laurence Olivier’s production company, he finds himself third director (aka runner) on The Prince And The Showgirl starring none other than Marilyn Monroe (Michelle Williams) - the most famous star in the world.

Directed by and staring Olivier (Kenneth Branagh), the newly married Marilyn’s unorthadox ‘method’ techniques and tardiness cause friction on set and upset for the American actress.

But after finding friendship in Colin, she finds comfort in strange old England.

Between the desire to escape fame and the need to embrace it, can there really be a future in their short tryst?

Award attracting 

British based biopics have been award attracting offerings in recent years, and My Week With Marilyn is set to be no different.

Brimming with enough transatlantic appeal to make it attractive to audiences on both sides of the pond thanks to the quaint Brit setting twinned with an American element (The King's Speech meets Four Weddings And A Funeral); Oscar will surely come calling.

The tight snapshot of circumstances over a film shoot rather than a broad, sweeping life-story condensed into a two hour runtime is where My Week With Marilyn shines.

Rather than a highlights showcase, Clark’s memoirs have space to gently tease out all the traits and characteristics associated with Norma Jeane: the devotion and love from those who meet her; the famously difficult shoots; the cocktail of drugs, and her self-destructive addiction to the fame machine behind her closet misery.

Bringing her eerily to life is Michelle Williams, who totters into the protagonist’s  shoes admirably.

From the musical intro and Marilyn ‘persona’ to the damaged life behind the tinted glasses, she exudes witty starlet and fragile creature in equal measure.

Sterling cast 

Leading the account is Redmayne, whose fresh-faced Clark suits perfectly, while a who’s-who of British talents ranging from rising stars like Harry Potter’s  Emma Watson and Dominic Cooper to stalwarts like Toby Jones and Judi Dench are given enough screen-time to thrust the narrative along while never outstaying their welcome.

But it is Branagh who deserves praise as Olivier - uncannily embodying the famous thesp while throwing out the film’s most delicious lines.

Simon Curtis’ hefty TV CV demonstrates his confidence in dealing with a top notch cast, and while the lack of visual aesthetic lends itself perfectly to the period setting, he relies on the watertight script to keep pace taut.

Sure to attract Academy nods for the principal players, My Week With Marilyn combines romance, comedy and drama to offer a glimpse into the life of a sizzling screen siren.

 

8/10 - Magnificent Monroe movie.

THE Wallace and Gromit studio are back with a stab at seasonal CG fun in this week’s Arthur Christmas.

Christmas at the North Pole runs like a well-oiled machine. Santa (Jim Broadbent) is chauffeured around the world in a spaceship while the elves do the delivering and son Steve (Hugh Laurie) controls the entire operation with military precision.

But his bumbling, Christmas-mad second son Arthur, (James McAvoy) is more of a hindrance to the job of delivering presents than a help.

When a little girl looks to miss out on a gift due to an oversight, it is only Arthur who is willing to do everything he can to make sure no one wakes up without a present.

Helped by his grandfather (Bill Nighy), can going 'old-school' save Christmas?

Festive treat

Festive films have been hit (Elf) and (mostly) miss (Four Christmases, Deck The Halls, Nativity, etc) over the past ten years, but with its seaonal-soaked story Arthur Christmas could be a new festive family favourite.

Aardman Animations lose the ‘stop-motion’ look of Flushed Away to shoot for a more Pixar-esque visual style.

Although the exaggerated features of the characters bring a cartoon element to the film (adding to the tone while side-stepping the ‘blank empty eyes’ distraction of festive CG offerings like The Polar Express), the animation team up the ante when it comes to set pieces.

Whether dashing through the streets of Toronto or in the middle of the Atlantic Ocean, the photo-realistic textures pop on the big screen, while frantic chases and carefully considered angles lend themselves perfectly to 3D.

But when it comes to effective Christmas movies, it’s all about the story.

Classic themes

The notion of Santa using a floating craft may seem like sacrilege to festive-movie purists, but Arthur Christmas wastes no time in drilling down to classic images and themes.

Rather well-worn concepts of Christmas spirit, the loss of innocence, and courage under pressure are all present, but Alan Partridge and Borat scribe Peter Baynham and Sarah Smith bring British comedic sensibilities to the table.

A cast brimming with British talent lend their vocal expertise admirably, whether contending with a dramatic/emotional moment or merely yelling a witty line 'off camera'.

McAvoy as Arthur occasionally drifts into irritating, but always pulls it back at the key moments.

But star of the show is Bill Nighy as Grandsanta, who throws out the best one-liners for the older audience members.

Aardman are certainly finding their feet with CG.

Though no competitor to the all-powerful Pixar, the animation house present slapstick humour, wry one-liners, edge of your seat action and a hefty dose of seasonal schmaltz and sentiment, all wrapped up in a big bow.

 

7/10 - A Christmas gift.