Review: Man of Steel

Anyone over the age of 18 (and a few naughty fake I.D. holders under 18) will have probably experienced this at some point in their lives: the feeling that accompanies stepping out of a nightclub at 3am in the morning. It's a feeling that oh so many of us will have experienced from the later years of our youth: returning to the outside world having just experienced a barrage of flashing lights, images and fleeting moments, through a constant and unrelenting series of loud noises and bass-heavy tunes that have left your poor ears hearing everything as a distant muffled echo. As the distorted memories from what was probably a rather empty and difficult to follow evening of events begins to settle, it is at this point that we find ourselves asking that all important question: was that actually an experience that I enjoyed, and was it all really worth it? Sure you may have had a few moments of fun with some familiar faces along the way, but it's ultimately a question that is more often than not followed by a crushing feeling of disappointment and regret.

Stepping out of Man of Steel was like stepping out of that proverbial nightclub.

After the huge critical and financial successful of the most recent Warner Bros./DC Comics film collaboration - Christopher Nolan's Dark Knight Trilogy - Man of Steel follows closely in the footsteps of the recent Bat-franchise by giving Clark Kent, alias Superman (Henry Cavill), a Batman Begins style origin story set on a dark and more contemporary version of Earth. Yet with 'Supes' being born into his superpowers and getting used to them through childhood, the film features very little in the way of the character learning and adjusting to his new-found superhuman abilities that you might expect from most superhero origin films. Instead we have a tale of self-discovery: it's not about who Clark Kent was and what he's now become, it is about discovering who he has always been all along, and why. It is these parts of Man of Steel that are the most interesting and engaging to watch. Simple moments with Kevin Costner and Diane Lane as Clark's adopted Earth parents are subtle, touching and emotionally endearing, and apparitions of Russell Crowe as his biological Kryptonian father help to further Kent's understanding of who he is and how he must choose to live his life. Presented here through a non-linear Nolan-esque telling of a story that fans will already know more or less through the original Christopher Reeve film series, the film's narrative feels fresh and engaging, and the film as a whole benefits greatly for it.

Subtlety is key: simple scenes between Clark and his adopted parents justify Man of Steel.

Yet to some extent, the focus on characters that makes Man of Steel so interesting also forms part of the film's undoing - namely in the relationship between Clark Kent and Lois Lane. Although Amy Adams does a great job of re-imagining the iconic Superman love interest, news reporter Lois Lane, and Henry Cavill absolutely has the visual presence of a perfect Superman, it is the rushed character development of the film's screenplay that truly lets down what could have been the beginnings of an appealing relationship. Instead of saving any time to allow the relationship to slowly blossom in a natural way, the screenplay chooses to thrust the two characters together rapidly; seemingly because they have to, rather than because it is the appropriate time to do so. As a result, any early signs of the fantastic chemistry and banterous dialogue that occur between the two (especially during an interrogation scene) are cut short by the need to forward the plot as quickly as possible in order to get to the big budget action sequences - and when the film presents an on-screen kiss towards its climax, the moment does not feel at all natural or necessary, but instead rushed into the film just for the sake of having it there. With an inevitable plan for more films to come (with MOS2 already in the works), there really is no reason why Zack Snyder and co. could not have slowed down such major character developments like this for potential follow-ups.

Alongside these issues in the screenplay is Man of Steel's complete lack of humour throughout. It's clear that Snyder is trying hard to avoid the camp humour style of the Marvel Avengers universe with its heightened gritty realism, yet even the comparable Dark Knight Trilogy which the film is trying to match is able to have some laughs at itself throughout. With just a few moments of very subtle humour featuring in a film about a man in a skin-tight blue costume with a bright red cape flapping at the rear, fighting a group of people wearing blackened Buzz Lightyear suits, it is clear that the film is taking itself far too seriously. I'm not looking for the comedy of the year, but a few more laughs and lighthearted moments certainly would have made Man of Steel a far more enjoyable film to watch, and may have even allowed for a greater engagement and likeability towards the film's character ensemble. But perhaps establishing characters and their emotional developments doesn't really matter in the grand scheme of things, for as soon as the film reaches its final forty minutes the concept of characters gets thrown straight out of the window: both figuratively and - unfortunately, far too often - literally.

When the lead in a humourless film wears this, you know it needs to lighten up a bit...

As soon as the film's lead villain, the kryptonian General Zod (Michael Shannon), touches down on Earth with his dastardly team who threaten the safety of the planet in order to track down the Man of Steel himself, the film turns from the intriguing Nolan-style Hollywood art film character-drama into a Zack Snyder/Michael Bay CGI action wet dream. I'd be lying if I said I could totally follow what happened for the final forty minutes of Man of Steel, but it's almost incomprehensible: an endless series of explosions, noise, large scale destruction, and people flying through buildings. It all suddenly becomes very difficult to follow, and even more difficult to care. Constant, repetitive, nonsensical action between seemingly invisible characters (who appear to be unable to feel any form of pain or suffering at all) naturally drags on far too long, proving nothing more than the fact that people punching each other for forty minutes does in fact get boring; very, very quickly. And it seems that no-one else can be hurt either, as even the majority of the millions of Metropolis city inhabitants appear to flee collapsing buildings and exploding vehicles without even as much as a scratch - it's comparable to a darker adult version of The Avengers' final battle in New York, just with less interesting characters, and a lot less enjoyment. It's at this point where Man of Steel becomes its own worst enemy - what starts off as a promising film ultimately becomes everything you fear it could possibly be; a headache-educing hollow Hollywood corporate box-office machine.

Supremely stylish but unsatisfyingly empty, Man of Steel kicks off what could have been a promising Super-franchise, but a lack of humour and a seemingly endless finale of loud and unrelenting CGI destruction ultimately leaves a sense of disappointment that unfortunately looms over any positivity that you may initially have towards the film; leaving you to walk out of the cinema with an distasteful memory of 40 minutes of boredom and confusion. Not without merit, Man of Steel is by no means as good as it should have been with the name of The Dark Knight's Christopher Nolan attached to it. As the set-up to many inevitable sequels to come - and the on/off Justice League film that's still on everybody's lips - we can only hope that the already confirmed follow-up will be the film that we deserve, but it's almost certainly not the one we need right now.

Verdict: ★★★☆☆

Man of Steel (certificate 12A) is now showing in cinemas across the UK.

Have you seen Man of Steel? Leave your thoughts and opinions in the comments section below!

12 of '12! Part 2.

Welcome back to my list of the top 12 films that I saw in 2012! So far I've counted down from 12 to 6, which leaves us with just five more to go - my favourite films of 2012. So let's not waste any more time, cue the Top of the Pops jingle because here are my top five films of 2012...

Pioneers of cinema itself, and previous Best Picture winner at the BAFTAs and Oscars last year (for my favourite film of 2011, The Artist), the French are at it again, with touching comedy Untouchable (original title: Intouchables). The film, which after becoming the second highest grossing film in the French box office experienced a warm reception overseas too, tells the story of a wealthy paraplegic who decides to hire a less well-off young man to be his carer, as he is the only person to show him the one thing he desires: no sympathy. There isn't an awful lot to not like about Untouchable; it is effortlessly the funniest comedy of the year, has a touching and thoughtful story at its centre, the beautiful setting of France, and a close buddy movie relationship at its heart that makes the film a real feel-good treat. It may be predictable from the outset to see how each of the characters will learn from one another as their relationship blooms, but any flaws become significantly less problematic as the film is such a joy to watch. When placed next to a mainstream comedy such as Ted which is equally predictable, the laughs in Untouchable feel honest and genuine when compared to a film that in comparison seems to try too hard to make its audience laugh. Once again the French prove that they really are the fathers of film!

Michael Fassbender proves that he has the balls (literally) to take on a very challenging film in Steve McQueen's hauntingly beautiful film Shame. This harrowing art film about sex addiction tackles a very difficult subject matter and makes it accessible to all through the undeniably human them of addiction as a whole. With its flawless cinematography, stunning performances from Fassbender and Mulligan, and superb direction, Shame allows you to step inside the mind of a man battling his inner demons, in a mesmerising and powerful way. Heavily snubbed at last year's awards ceremonies, this is a tour de force piece of filmmaking that blew me away. Click here to read the full review.

Easily the most inventive and unique films of the year, Berberian Sound Studio was also one of my personal favourites! Toby Jones proves how he is one of the best and perhaps overlooked British acting talents, in a film about the creation of horror sound effects in film itself. Whilst the first half of the film gives us an insight into the construction of film (rest in pieces melons and cabbages), the second half turns art house as the film then goes on to deconstruct itself, as the lines between ours, Gilderoy's and the horror film's diegeses begin to blur as reality and film merge. A remarkable piece of filmmaking that will leave you thinking, but more importantly entertained as what starts out as a normal drama soon turns into a very unique horror.

Sam Mendes Took a stab at the tried and tested 50 year old Bond formulae and well and truly proved that nobody does it better! Reinvented for a newer generation of cinema goers, Skyfall took the classic conventions of every Bond film, all of the elements that made them so enjoyable, and updated them to create an instant Bond classic... and then some! With a narrative that storms along at a pace like nothing else, some of the most extraordinary action set pieces in recent film history, stunning settings, skilful cinematography, a classic Bond song, and a modern and engaging character driven narrative, Skyfall was much more than just a good Bond film, it was a fantastic film full stop, and one that dared to offer more to those looking for it. Immensely fun, enjoyable and tirelessly exciting, Skyfall was one of the most satisfying films that I saw this year, and more than ticked all of the boxes. Click here to read the full review.

There's a great irony to the fact that I am posting this article on the day that the 2013 Oscar nominations were announced, as my film of the year rather shockingly garnered a total of 0 nominations (and just 1 for the BAFTAs yesterday), despite vast critical acclaim, approval from waves of cinema goers and fans alike, and for concluding one of the greatest film trilogies of all time. I am of course talking about Christopher Nolan's epic Bat-Finale, The Dark Knight Rises. This sudden backlash of accolade for the film comes as a shock to me, as I am in nothing short of complete admiration for Nolan's work in this remarkable film. Where to begin? It's a comic book action film, that's intelligent and engaging, relevant and poignant, entertaining and moving - a Hollywood blockbuster of art house quality. It has a tremendous cast playing deep characters in a film which is in essence a character piece that focusses not on Batman, but on the broken shadow of a man behind the mask. It contains some of the best moments of cinema of all time within a film that I discover more and more within every time I see it. It is traditionally shot on film (which holds a certain special quality to me compared to digital), and more impressively on IMAX, which in my eyes remains the most impressive technical advancement in film - and seeing the entire IMAX print on the grand canvas of an IMAX screen made for one of, if not the single greatest cinema experiences that I have ever seen. Heavy use of CGI is put aside (and see if you can notice when it's used anyway!) in favour for real visual effects, creating a more impressive aesthetic experience for us cinema goers. All of which Nolan implements in most of his films, and to which I admire greatly, but what makes The Dark Knight Rises stand out is the epic scale that it encompasses within all of these areas, really pushing the limits in what can be done in film - they dropped an actual plane out of the sky in the film's opening scene for Pete's sake! I adored Nolan's work on this incredible finale of a film and the entire Dark Knight Trilogy as a whole, and whilst the Oscars may refuse to acknowledge it, I give it the title of my film of 2012. Click here to read the full review.

Of course it wouldn't be a best of list without a few honourable mentions, and 2012 gave us so many good films that I just couldn't fit them all into my top 12 list. In fact I could probably even do an honourable mentions list for my honourable mentions with so many enjoyable releases! So are just a few of the films that narrowly missed out on places in my 12 of '12:

• The Hobbit: An Unexpected Journey: A fun outing that made for a much welcome return to the realms of Middle Earth, yet without the rose tinted glasses the over long running time (and we're only a third of the way through!) meant that the film was Baggins at times, resulting in it being more ummin' and aahin' than Balin and Dwalin; less Thorin and more borin' and snorin'! Yet as soon as Gollum steps onto the scene, everything suddenly comes alive, and the film well and truly begun. (Full Review)
• Lawless: a great modern gangster film that I enjoyed immensely. Shia LaBeouf was actually good in the role, and Tom Hardy (along with his role as Bane in The Dark Knight Rises) proved that he can convey the raw animalistic intensity of a character with just his eyes and a grunt! A fun film that I struggled to keep out of my list.
• Brave: Pixar's latest offering was a visual treat that had a touching mother/daughter story at the centre of it. Whilst it wasn't the studio's best piece due to the strict confines of the fairytale genre, it was certainly a lot of fun, with a refreshing female lead, and the clans and the triplets bringing a great comic relief to the animated proceedings. (Full Review)
• Prometheus: fair to say that this was a film that divided people; I actually very much enjoyed Sir Ridley's return to the Alien universe, and even almost gave it a spot in my top 12! Perhaps it did ask more questions than it did answer, but is that really such a bad thing? Whilst I admire the stylistic qualities of the old fashioned sci-fi immensely, each time I watch it I find more and more thing to think about within the narrative, which leaves me enjoying it all the more. (Full Review)
• Frankenweenie: Tim Burton returned to classic stop-motion animation in great style with his pastiche of the monster movie genre. Not only was it crammed with references and a lot of fun, it was also the only film that I have seen that seemed to purposefully use its 3D effect to add to its narrative. Yes that's right folks; it made me fleetingly believe in 3D! What more can I say!? (Full Review)
• The Descendants: A big contender for awards season last year, the George Clooney starring film was mostly just an alright film, which elevated itself to a very emotional and poignant piece at times. There is nothing more heartbreaking than a shot of a young girl being told that she will never get to see her dying mother again - I haven't teared up this much since Toy Story 3!

Well there you have it folks, my cinematic highlights of 2012 (out of the films that I actually managed to see); I hope that you enjoyed this read, and now it's your turn to get involved too! I'd love to hear what your top films of the year were too, so be sure to let me know in the comments section below. Or perhaps you want to give me a telling off for forgetting one of your favourite films of the year; maybe you just cannot stand my taste in film!? Whatever it maybe I always love to hear from you guys too, so make sure to leave a message below.

Here's to 2013 being just as good a year for film!

Trailer Park: Man of Steel

Superman gets the Batman Begins treatment; so 'Superman Starts'!?...

2006 was the year that last saw the world's most iconic superhero grace the big screen, and next year; Superman Returns (brownie points if you got that!). After being sent to Earth as a child, Clark Kent is adopted into a human family in Kansas. Time passes and today Kent, who disguises his identity as a journalist, protects the Earth with his extraordinary powers whenever he dons his iconic costume to become Superman. Soon however Superman will be tested to the limits when a deadly threat strikes...

Whilst I'm not a huge Superman fan and haven't really followed his many other big screen outings much, I do know how big a deal this film could be. Firstly Man of Steel boasts the talents of David S. Goyer and Christopher Nolan on writing duties, the double act behind the incredible Dark Knight Trilogy which has just come to an epic conclusion with The Dark Knight Rises which is now showing in cinemas. These two men have just finished reviving the once dead in the water Batman franchise, turning it into what most people would deem the best superhero films of all time - if anyone can make a Superman film work, it's these guys, and as you can tell by the trailer the film is clearly taking the Batman Begins approach to relaunch the franchise. Secondly, after the success of Marvel's Avengers Assemble, rumours have been persistent that rival DC comics are eager to get a Justice League film in motion - so this film could be the beginning of something much bigger! Alongside these factors, just from the trailer and poster alone it does look like this could be a very good film, and it's certainly the first Superman film that has grabbed my attention in a big way; check out the trailer for yourself and let me know what you think too:

Man of Steel is set for release in cinemas across the UK on June 14th 2013.

Are you expecting little from this film, or do you think it will be super...man!? Will it be a blockbuster or lacklustre? Leave your comments below!

Review: The Dark Knight Rises

Director Christopher Nolan concludes the trilogy that turned "nah-nah nah-nah nah-nah nah-nah Batman!" into "yes-yes yes-yes yes-yes yes-yes Batman!"

The Dark Knight Rises picks up 8 years after the events of The Dark Knight; Gotham City is plagued with the threat of a new villain; the terrorist Bane (Tom Hardy). As Gotham sees its darkest hour, Bruce Wayne (Christian Bale) goes against his word and dons his bat-suit once again to become Batman - the city's Dark Knight - in order to face his greatest challenge yet.

Coming in at around 2 hours and 45 minutes, The Dark Knight Rises is a very, very long film - and at times it doesn't half feel like it! In the wake of 2008's The Dark Knight and all of Nolan's other cinematic greats there was an almost unbeatable amount of anticipation for this film, and from that perspective there was a slight feeling of disappointment for me at least. By the end of the film the main plot did feel rather simple (and strangely reminiscent of one scene from 1966's Batman: The Movie in many respects - never thought I'd say that!) for a Nolan film - from which you'd usually come to expect a lot more than what is on the surface - and for someone who has seen all of Nolan's other films was expecting a bit more.

But having said all that, less is more (but try telling that to the running time). Instead of focusing on blowing minds Nolan digs deep a bit further into our emotions instead in order to complete a film and a trilogy that are both truly historic moments of cinema. Whilst the film is long, it's as a result of immense attention to detail in story and plot that all builds up to create the bigger picture at the end - yes it could have been shorter, but I commend it for not being so - as a result Nolan creates a compelling, emotional, and breathtaking finale to his incredible Bat-saga. (C'mon, you weren't really expecting me to give this a bad review now were you!?)

Tom Hardy is the Bane of Batman's (Christian Bale) life in The Dark Knight Rises.

Well written and beautifully shot by Christopher Nolan and his excellent team (a special tip of the hat must be made to Director of Photography Wally Pfister), The Dark Knight Rises is an intelligent blockbuster that twists and turns repeatedly, keeping you guessing and double guessing right through to the very end. This is the beauty of a Nolan film - that regardless of however complex or not the story may be, it is always presented in such a way that it is constantly disillusioning you until the very last piece of puzzle comes into place right at the end of the film. Nolan is both a master storyteller and filmmaker who knows how the two work together and how they can be manipulated and developed in order to create the best result that will last with the audience. Whilst I correctly predicted how the film would end even before seeing it, there wasn't one moment where the film didn't force me to doubt myself as to how it would get there, and constantly throughout the film I was still being surprised with each choice that was made. The ending itself without spoiling anything is done perfectly as to allow everyone to feel satisfied with the film's conclusion (hopefully you'll understand what I'm talking about if you've seen it - you can't imagine how difficult it is to write this spoiler-free!).

Christian Bale leads an incredible cast with an excellent returning performance as Bruce Wayne/Batman which pushes the character to the very limits unlike anything seen in either of the other two films. Tom Hardy's Bane presents an incredible villain figure who many people may not recognise (his only film appearance was as a minor grunting bodyguard type role in Batman and Robin - the film that almost killed the Batman franchise before Nolan saved it), but one that no-one will forget. Anne Hathaway naturally has a large role in the film playing Selina Kyle/Catwoman, a screen presence so spectacular that she steals a lot of the scenes. Whilst some people were concerned about Catwoman's presence, rest assured that she is presented purr-fectly (couldn't resist!) in this film with Nolan challenging her good/bad identity unlike any of the other films that feature her. The supporting cast of both old and new faces is also fantastic and helps to make the film - although discussing some particular individuals best be avoided in order to steer clear of spoiler territories.

Selina Kyle/Catwoman (Anne Hathaway) experiences some time behind bars, probably for stealing all the scenes in The Dark Knight Rises.

Christopher Nolan has successfully achieved exactly what he set out to do with this film; his intentions were to create a finale that completes Bruce Wayne and Batman's story established in the previous two films, closing off many other unfinished storylines at the same time. For anyone who hasn't seen Batman Begins or The Dark Knight (seriously!? Why the hell haven't you!?) you can still watch and enjoy this film - you will however understand and appreciate it slightly more if you have seen these films, as above all else this is a finale. Whilst The Dark Knight remains as the best stand alone Batman film, The Dark Knight Rises is a film that completes Nolan's incredible trilogy, cementing it in history as one of the best film trilogies of all time. It more than deserves to be seen and recognised as a grand finale over a stand alone film.

It may have its flaws and an incredibly long running time, but The Dark Knight Rises creates an epic and satisfying conclusion to Christopher Nolan's incredible trilogy - a trilogy that will inevitably go down in history. The film is an exhilarating journey made on an epic scale; there were moments that made me want to stand up and applaud the film, and even others that genuinely brought a tear to my eye (it's a Batman film!?! Although Batman and Robin could make me cry, that's for all the wrong reasons...). Watching it on Imax is the best possible way to view this film as Nolan actually shot around an hour of footage with Imax cameras and intended for it to be seen that way - I encourage that you do if you are able to. In the grand scale of film trilogies this is up there as one of the best and will be remembered so for it ; and whilst it may be early days to be saying this, I'm feeling quietly confident that next year will see a very happy Christopher Nolan gracing a Hollywood stage in order to accept the Oscar for Best Picture when the unexpected occurs: a Batman film wins the Oscar...

Verdict: 5/5

The Dark Knight Rises is now showing in cinemas across the UK.

Have you seen it? Agree or Disagree? Leave your comments below!

Review: The Amazing Spider-Man

With film reboots, come great responsibilities...

Back in 2002 a film called Spider-Man, the first in a trilogy by director Sam Raimi, was released - and people all around the world fell in love with the comic book adventures of Peter Parker. Now just 10 years on (only 5 years after the release of nail-in-the-coffin film Spider-Man 3), new director Mark Webb (the man with the perfect name for the job!) has taken the franchise back to square one with his reboot: The Amazing Spider-Man. Life isn't easy for Peter Parker (Andrew Garfield), an ordinary high school boy who struggles to come to terms with the mystery of what happened to his parents who left him with his Aunt May (Sally Field) and Uncle Ben (Martin Sheen) when he was a child. However being at the bottom of the school food chain is about to change for Parker after a bite from a genetically enhanced spider leaves him with superhuman abilities and his iconic Spidey-Senses. As a series of events unfold, Peter soon develops a vigilante alter-ego named Spider-Man - who is quickly thrown into the deep end as the villainous Lizard (Rhys Ifans) threatens the lives of those living in New York City.

So let's start with the elephant in the room then; the previous trilogy. There was a lot of initial concern from a lot of people when Sony announced that they were going to completely reboot the franchise just after the release of the 3rd film 5 years ago, with a lot of people confused as to why there is a need for this considering that the world of the original films had only just been established. If anyone still has any doubts over this move - do not worry! Whilst the Raimi directed films did have their success and were good on many levels (except Spider-Man 3, let's not bring that up...), for use of a better analogy on top of each cracker was a slice of cheese; whether it's from some of the films' dialogue, the overly comic book vibe that has now post Christopher Nolan's Batman films (the third of which, The Dark Knight Rises, is released next month) been significantly toned down for a grittier and more realistic approach, the rushed feel of certain plots and sub-plots or the entirety of Spider-Man 3; it seems that in hindsight certain elements of the films haven't aged well - albeit I do feel this is in many respects a result of how the genre has evolved over the last 10 years and not entirely a fault to the films themselves. However if you remove the cheese, you're left with a cracker (yeah I'm gonna stick with this cheesy analogy!), and that's what you get with The Amazing Spider-Man.

Peter Parker (Andrew Garfield) and Gwen Stacey (background, Emma Stone) in The Amazing Spider-Man

In comparison to the original trilogy, The Amazing Spider-Man is a completely different film, in almost every way. Whilst it does share a few story elements, everything from the style, tone, characters, setting and the events is done in a completely different way, so even though this is an origin story in the same way that Spider-Man was, it is different enough that you're not seeing the same film twice. Returning to my man-love for Christopher Nolan and his Batman films, it is clear in many ways how this film has been influenced by these game changing films. The style of the film has gone for a far more realistic approach in The Amazing Spider-Man, with the likes of Spider-Man's web coming from a mechanical device attached to each wrist and not just naturally, amongst other things. The biggest influence however is within Garfield's performance and character. By rooting his character entirely in the high school environment, the film takes a much slower approach in following, developing and evolving his character much in the same way as Nolan does in Batman Begins. In some ways this does make the film feel quite long at the start, but as a result you get a much clearer understanding and appreciation from his character as a result - whilst the Raimi films rushed through a lot far too quickly. As a result Peter Parker is now a far more relatable and down-to-Earth character whom with his great dialogue and whip-sharp wit provides a much more modern and humorous character - the perfect addition to the Avengers Assemble sequel if they could ever sort out the legalities with Sony. This is further continued within his relationship with love interest Gwen Stacy, who played by Emma Stone is the perfect equal to Garfield, resulting in a much more interesting and deeper relationship than that of Toby Maguire and Kirsten Dunst's Mary Jane.

In fact the emphasis on relationships is also a big theme in the film, and this paired with character development actually come above the film's action and becomes it's saving grace. This comes as a result of the new direction that Mark Webb brings to the table. Having previously directed 500 Days of Summer, Webb's style is definitely present in The Amazing Spider-Man. In fact, for a lot of the film, in particular during the high school scenes, the films feels very much like an indie film in many respects, which only helps to show the characters in a modern light - proving that Webb understands the real world for modern youths. Whilst this style is a fresh, bold and unique change to not only the Spidey franchise but the comic book superhero genre as a whole, there is something about it that may take a bit of time to get used to - be it due to it's radical change in style or to the fact that the Raimi films only ended 5 years ago, and are still fresh in our minds.

The Lizard (Rhys Ifans) terrorises one of his victims in The Amazing Spider-Man

Of course this is also a summer blockbuster, and the action and laughs come thick and fast too, often hand in hand and working very well. This is especially prominent within the scenes featuring Garfield's character trying to come to grips with his new found powers, where a lot of laughs are to be had thanks to Garfield's fantastic performance. One of the biggest laughs however comes from the now expected cameo of Marvel's Stan Lee, whose moment in this film outshines all of his other cameos to date. Naturally most of the action comes from Rhys Ifan's Lizard character, the intentions of whom are not quite your standard money or power incentives that a lot of Hollywood villains long for, as Ifan's performance brings a element of humanity to a character who is mostly inhuman by the end - resulting in a villain figure that really works. It is within all of this that the film really shines - it's the way that it balances the fantastic action and laugh out loud humour that mainstream audiences want and expect, with the character development, relationships and emotions that make it a deeper film and a memorable experience.

With deeper character development, a more modern and realistic style and approach, sharper dialogue, and most importantly a lot less cheese, The Amazing Spider-Man is a big improvement on the original films and one much stronger and more in line with the comic book films of today. With excellent performances by Andrew Garfield and Emma Stone who continue to prove themselves to be two of the hottest stars for a new generation, and not forgetting Rhys Ifans who brings both humanity and inhumanity to the Lizard role, the film is brought to life by a great acting cast. Director Mark Webb and Sony made a brave move in rebooting the Spider-Man franchise is such a different and stand out stylistic way, and it's certainly paid off, even if the ghosts of the Raimi era are still fresh in our memories. This is not just a film about action, it's about characters and relationships, and that's where Spidey's strength truly lies. With a series of unanswered questions left at the end of the film (don't leave as soon as the credits start...) and the next film already announced for a 2014 release, we've not seen the last of Spider-Man, and it sure is good to have him back!

Verdict: 4/5

The Amazing Spider-Man is released in cinemas across the UK on July 3rd 2012.

Are you looking forward to the Spidey Reboot? If you've seen it what did you think? Leave your comments below!

Trailer Park: The Amazing Spider-Man

It really has been comic book superhero mania recently, with last week's UK release of Avengers Assemble (released in the US today), the final trailer for The Dark Knight Rises going online on Tuesday, and now a new trailer for The Amazing Spider-Man hitting the web too (pun intended!).

Filling the spidey-boots and suit this time around is actor Andrew Garfield of The Social Network fame, who has the heavy task of getting to grips with his newly found powers and alter-ego, whilst of course avoiding the police, maintaining a relationship with girlfriend Gwen Stacey (Emma Stone), discovering the secrets and truths about his parents, and saving the world from the villainous Lizard (Rhys Ifans) - the big question is, when will he fit in time for his homework!?

Whilst a lot of people were sceptical about this reboot when it was announced years ago, it feels right to see this franchise being re-done, especially after the critically slated Spider-Man 3 pretty much killed the franchise back in 2007 - time has passed, and our expectations from the genre have evolved significantly; this new cast and style can only help to save the Spider-Man franchise in my opinion. I must admit that I although this film does unfortunately sit in the shadow of the other two major superhero films (Avengers and Batman), I really am looking forward to this film, and this new trailer in particular really has given us a lot to look forward to - this could be a hit that you didn't expect to see coming...

The Amazing Spider-Man is released in cinemas across the UK on July 4th 2012.

Are you excited for this franchise re-boot? Do you think it will be a blockbuster or lacklustre? Leave your comments below!

Trailer Park: The Dark Knight Rises

It's been a while since my last Trailer Park article, but a certain big release this morning has forced me out of retirement - very similarly to the film's main character and plot in fact (yes, I did just compare myself to Batman!)

Set 8 years after the events of The Dark Knight, The Dark Knight Rises, the supposed finale to Christopher Nolan's Bat-trilogy, sees a new threat plague Gotham city in the form of Terrorist Bane (Tom Hardy). When a threat this big strikes, Bruce Wayne a.k.a Batman (Christian Bale) is forced to don the Batsuit once again in order to save the day - but this time can he? The film sees the return of many franchise familiars including Michael Caine, Gary Oldman and Morgan Freeman who reprise their previous roles, and introduces a whole host of new characters played by the likes of Joseph Gordon-Levitt, Marion Cotillard and Anne Hathaway; who dons her catsuit to play Catwoman in what promises to be a truly epic climax to an incredible trilogy of films.

The third and final trailer for The Dark Knight Rises was released this morning and brings with it everything you'd expect from it. Hardy's Bane looks set to even challenge the late Heath Ledger's widely acclaimed role as the Joker from the previous film for best villain, in a role which from footage and information released looks to be something incredible. With this trailer being put online just days after Avenger's Assemble hit UK cinemas, with many people calling it the best comic book film of all time - could The Dark Knight Rises very shortly make them reconsider? I think so...

The Dark Knight Rises is released in cinemas across the UK on July 20th 2012.

Are you excited for Christopher Nolan's epic Bat-finale? Do you think it will be a blockbuster or lacklustre? Leave your comments below!