American Gangster is based on the real life story of Frank Lucas (Denzel Washington), the number one importer of heroin into Harlem in the 1970s. Frank decides the best way to make a profit is to get rid of the middle man and deal direct with the source in South East Asia. The film follows Lucas’ rise in the underworld and the attempts of Richie Roberts (Russell Crowe) to break his hold on New York.

Ridley Scott proves again that he’s a fine director no matter what period he chooses. It’s shot uncompromisingly and leaves no doubt to the kind of damage that can be done by heroin. He doesn’t lose control over a mammoth cast and keeps the focus on Lucas and Roberts with a steady eye. Washington and Crowe are pitted against each other extremely well without either really getting the upper hand.

There’s no doubting the 1970s America that’s shown in this movie. There is a real sense that New York continues on either side of the camera and we’re being treated to a snapshot. Partly that comes down to the set design but also costume designer Janty Yates (who one an Oscar with Gladiator) turns out another fine piece of work.

I thought Josh Brolin pulled out another good piece of acting as the crooked cop, Trupo. Add this to his performance in No Country for Old Men and he seems to be hitting the right notes. It’ll be interesting to see how he does as George W. Bush in Oliver Stone’s ‘W’.

As far as the story goes there was a sense that I’d seen it all before. The crooked cops, the valiant do-gooder, the violent king-pin. It might be a hangover from Washington’s role in Training Day or that there isn’t really a spectacular scene. There’s nothing wrong with a solid piece of story telling but I think this film needed something to jolt the audience out of their seats.

I definitely found myself flagging somewhere around the 2 hour mark. It’s not so much that I was losing interest but once it became apparent where the story was going there wasn’t enough substance to make me want to stick around. It’s a shame but I came away feeling that it was just a little bit too long.

There is an alternative ending that comes with the DVD but it’s nothing to get excited about – it’s an extra five minutes that was rightly left out of the cinematic release. With the normal version at over 2 and a half hours I didn’t try and track down the extra 18 minutes of footage in the extended version.

There are and will be better gangster movies than this but it’s certainly entertaining enough if you have longer legs that me. I don’t know how accurate the real life story is portrayed but it is a well worked flashback to the 1970s.

Into the Wild is based on the true story of Christopher McCandless (Emile Hirsch), who after graduating from college decides to give away his life savings in favor of traveling to Alaska to live off the land. The film follows his travels and adventures of two years until he reaches his ultimate dream of living in the wilderness.

The movie is based on Jon Krakauer’s non-fiction book of the same name. He pieced together McCandless’ travels from his journal and extensive research. The script is co-written with director Sean Penn and there is a sense that the story meant a lot to both men. I should mention that the soundtrack is by Eddie Vedder (Pearl Jam) who does well to capture the free spirit that McCandless undoubtedly displayed. There’s a real open road feel to the movie, ably added to by the soundtrack and movie scoring.

Emile Hirsch plays the free thinking McCandless brilliantly. When his character becomes Alexander Supertramp, the pseudonym he picks for his travels, Hirsch makes the same leap for freedom. It’s a very good piece of acting. The supporting cast is extraordinarily strong, being topped off with the superb Hal Holbrook (nominated for the Best Supporting Actor Oscar) who plays a lonely old man whose life is touched by McCandless.

The way the film is shot by Penn underlines the way McCandless reacts to society. Scenes in the wilderness or on the road are wide and endless. Anytime McCandless is back in society there is a more boxed and trapped feel. The scenery of Alaska is stunning and embodies the beauty from life Hirsch’s character is seeking.

I have to admit I didn’t realize this film was based on a real life story until the very end. It all became incredibly poignant after seeing a picture of McCandless in Alaska. The sense of realism that Hirsch and Penn created had left me with mixed reactions to Hirsch’s character at different stages of his life - it ranged through annoyance, disbelief, inspiration, and anxiety. Once I knew he was based on a real man I couldn’t help wondering how his parents must have reacted to watching this movie. That’s how good a portrayal of McCandless I thought the movie produced.

I like to think Sean Penn has managed to capture the spirit of the man – certainly I can believe the character that was portrayed. I was left feeling that we had a glimpse into the life of a man searching for a freedom and beauty that we perhaps forget when we become embroiled in the everyday routine of our lives. Definitely worth watching.

Daniel (Matthew McFadden) is faced with the difficult task of presiding over his father’s funeral. All the careful planning soon goes awry as his family and friends struggle through mishaps and a shocking secret at the family manor. The only question is whether Daniel can send his father off with the dignity he deserved.

I’ve only ever heard good things about this film. A black comedy that’s ‘insanely hilarious’ says the box and looking at the cast I figured it can’t go wrong, Matthew McFadden and Keeley Hawes (Spooks), Ewen Bremner (Trainspotting), Alan Tudyk (Serenity), Peter Dinklage (The Station Agent), Kris Marshall (My Life in Film). I really was anticipating watching a fine British comedy. Unfortunately I was hugely disappointed

This was obviously meant to be a farce, and because of that I don’t mind you can see the jokes coming. It’s the nature of the comedy. The humor comes from seeing how the characters react to a situation as it disintegrates. And, a funeral is the perfect setting. A dead body, a slightly dysfunctional family coming together with some oddball friends are perfect ingredients. I can imagine Peter Sellers or Alec Guinness rubbing their hands at the prospect of the ensuing madness. However, the script fails to bring the sense of impending doom that’s needed as the wheels begin to fall off.

I think Alan Tudyk got the shortest straw. His character has an unfortunate mishap with a hallucinogenic drug. All well and good, except he never gets to interact with the other characters in a funny way. He just bounces around looking dazed and confused. Peter Dinklage, as the man holding the dark and shocking secret, was the best performance in the movie. He played the character well, but had the advantage of having something in the script to work with.

Unfortunately, the only other good thing I have to say is about the opening title scene. So, I’ve had a quick look at the credits to find out they were done by Brandt Animation. Hats off to you guys, I liked the animated coffin.

I don’t think the director, Frank Oz could have done much more than he did. The movie moves at a decent pace and you certainly feel as if you’re at a funeral. I should really make a joke like ‘it’s because all the actors are mourning the script’ but it awkwardly comes close to being the truth.

It seems that a lot of people liked this film, and I might be in the minority, but I thought it was dreadfully flat and a waste of some great acting talent. By the end I felt a bit sorry for Matthew McFadden trying to play the straight man in a comedy of few laughs. Watch it and see what you think.

Fantasy geek Gavin Gore (Jeremy Sumpter) and his friends find a set of outlandishly large footprints in the forest. Believing they have found evidence of the legendary Sasquatch they inform the police and local reporters in the hope of fame and recognition.

Written and directed by Tim Skousen, who was assistant director on Napoleon Dynamite, there’s going to be inevitable parallels between the two movies. Both look at the awkwardness of childhood and both are absolutely hilarious. Still, even if you didn’t like Napoleon you might find something to enjoy here. The direction is slickly done and follows each of the main characters through the simple plot by telling the story from each perspective. It allows each character to grow in a way that makes all their flaws become apparent but strangely acceptable at the same time.

Skousen captures the geek crowd of Gavin and his friends perfectly. They’re at their happiest with mock sword fights or playing games at the computer arcade. As always, once a girl enters the group the new addition can be painful and friendships have to change. Skousen hits the right note every time. Hobie Plumber’s (Hubbel Palmer) jealous rage and incomprehension of the fairer sex is very funnily done.

Zerk Wilder (Justin Long), the dim-witted hick is fantastic. His mullet touting, dodgy moustache wearing ineptitude is enjoyable from start to finish. He believes in the America where there is always a way to make a fast buck without having to do any work whatsoever. However, he’d be nothing if it wasn’t for his buddy Shirts (Joey Kern), the dubious brains of the pair, who I think has one of the best comedy falls in a movie I’ve seen for a long time.

The only character that fell completely flat was the Sasquatch expert, Dr. Artimus Snodgrass, over played by Carl Weathers. Which is a regrettable, maybe I just can’t get past seeing him as Apollo Creed smashing his fist into Rocky’s face. Watching him as a fame seeking charlatan just didn’t sit right for me.

I loved this movie. For all the comedy and hilarious characters, it’s actually a lovingly told tale of accepting who you are. Even though growing up might not be easy, it’ll be okay as your friends will pull you through. I’m confident that there will be people out there who will hate this movie. Don’t be one of them, don’t judge the characters when you first meet them, watch them grow and enjoy the consquences. I’ve no doubt this will end up being a cult classic.