Duncan Jones’ second film as director is that now seemingly necessary push in to a more mainstream script and plot which is ultimately the downfall of a film which leans too heavily on it’s twitchy premise.

Sure, Matthew Vaughn’s glossy and fun Kick Ass got there first but there’s something seriously twisted and blackly funny about most of James Gunn’s Super. It’s wildly uneven, hideously gory and is generally all over the road…

Attenberg (a mispronunciation of our very own Sir David’s name) is a real oddball of a film. It’s essentially a tale of a sexually ambivalent and naive young woman, Mariana (A captivating Ariane Labed) giving into her growing urges as her father dies. It aims for awkwardness over shock value and more often than not, hits its mark…

The Hesher in question is this odd little film’s heavy metal loving, morally skewed sociopathic title character (Joseph Gordon-Levitt), though its difficult to see why. The crux of the film is in fact firmly upon the young T.J (Devin Bonchu) who is grieving the loss of his mother and drifting away from his father (Rainn Wilson) and grandmother (Piper Laurie)…

Woody Allen’s latest harks back to the prolific legend’s more fantastical fare of the mid 1980’s by putting Owen Wilson in 1940’s Paris, wandering the streets and night clubs with Ernest Hemmingway, F. Scott Fitzgerald and Pablo Picasso to name but a few…

Juan Carlos Fresnadillo’s third horror film in 10 years sadly veers further away from his interesting, promising and cool debut Intacto than the mainstream, stylish but ultimately hollow 28 Weeks Later did…

“Kevin Smith’s style? He’s has no style, but that’s kind of his style.” After 10 years of trudging though some watchable but empty messes (Jay and Silent Bob Stirke Back) some complete piles of ooopsy (Jersey Girl) and a totally misjudged sequel (Clerks II) Smith has decided to pull a thorn from his side which has always kind of bugged him and put it on full, dangerous display…

Tom McCarthy’s third film after the near perfect The Station Agent and the horribly under appreciated The Visitor is the loveable but not quite brilliant Win Win…

Von Trier’s apocalyptic, deeply sad and beautifully acted opera of depression begins with Wagner trumpeting over some seriously staggering images. A black, riderless horse lays down in a field below the green swish of the northern lights, Charlotte Gainsbourg carries her child through the muddy green of a golf course and Kirsten Dunst watches electricity leap from her fingers into a grey sky. Then a giant blue planet crashes into earth…

Cancer and comedy make for odd bedfellows in Will Reiser’s own true script about a young radio producer dealing with a rare form of the disease and the reactions of his friends and family…

Lynne Ramsay (Ratcatcher, Movern Callar) returns after 10 years out of the film making world with what might turn out to be one of the greatest modern horror films ever made. A terrifyingly tense and measured version of Lionel Shriver’s infamous novel of the same name concerning a mother’s transferred redemption of her own life…

Michel Hazanavicius’ sweet, simple and affecting little piece of work has been lauded and gushed over since it’s awards season run, making many best lists before the year was out…

Michael Fassbender and director Steve McQueen’s second feature together is a difficult one to look at. Like his debut Hunger, Shame hangs about the screen, cold and stark, each frame meticulously composed and static and, where his main concern first time around was hunger striker Bobby Sands deprivation, this time around McQueen takes a long hard stare at a successful man’s addiction to sex.

It seems like the only smiling face in Alexander Payne’s latest film is over and done with in the opening 15 second shot. A woman on a jet ski whipping through the waves somewhere in Hawaii. In the next shot that woman is in a coma and beside her bed sits a pensive husband…

This obviously loving, quite beautiful but slightly overlong and scattershot adaptation of Hunter S. Thompson’s early novel of corruption in Puerto Rico ends with Johnny Depp’ Paul Kemp sailing away on a stolen yacht into the wild blue yonder. That is, shortly after screaming about corruption, failure and the “Smell of bastards”, a typically contradictory Hunterism and it’s not the first time throughout the Bruce Robinson helmed The Rum Diary that the film feels a little confused…

Exploding heads, guns made of human bodies, disease, vomit and even James Woods’ very own vagina have all made us squirm throughout David Cronenberg’s films but is it that odd to suggest that the most horrific and disturbing thing Cronenberg has shot yet is Keria Knightley’s insane facial contortions in A Dangerous Method?

Martin Scorsese has a filmic brain that few directors of his generation could challenge. Effected by Cassevetes early on he honed his skills in the grit and grime of the mean streets of New York city and has since portrayed some of the most horrific, corrupt families ever put to screen. With Hugo however he leaves all of his vicious ways behind to make a family film which ends up being more; A beautiful and touching love letter to the fantasy of film itself…

Woody Harelson’s big ole face occupies nearly every frame in Rampart, Oren Moverman’s second film directing him. It’s a movie which takes it’s place proudly and loudly in the cannon of Hollywood bad cops alongside Fererra and Herzog’s Bad Lieutenant, and Curtis Hanson’s L.A Confidential framing the city of L.A just as filthily as it’s main character study…

Another Sci-Fi film which sadly falls into the category of being “well imagined but poorly executed” Andrew Nichols’ In Time is an obvious parable for modern capitalism in which time has become currency…

Openly endorsing a documentary re-enacting the peculiar social situation which led to a man’s death from having receptive anal sex with a horse in Washington, USA isn’t something I thought I’d be doing today. But after seeing and pondering Robinson Devor’s beautifully filmed doc at great length it would seem I’m doing exactly that…