This is one of those films that I saw a trailer for a long time ago – the fact that the film has only now been released should have been a big enough indication of its quality. And it was.

“Case 39″ tells the story of a social worker who helps a child she thinks is being abused, but quickly learns that there is a very dark side to this young girl.

Renee Zellweger heads up the cast. Despite Zellweger’s presence in previous Oscar worthy pictures, there is nothing she can do to save this pile of garbage. Everything from the direction, script to music is completely uninspired – the demonic child story is simply a rehash of “The Omen”.

Zellweger has actually fallen into an already worn trap – win an Oscar, then star in a “crowd-pleasing horror” (see Halle Berry in Gothika or Jennifer Connolly in Dark Water) – the only problem is that the only horror is the films themselves.

Yes, there are a couple of shocks, but nothing to give you a sleepless night – anyone can be made to jump when you have a loud noise on the soundtrack!

This is a one-star film, though an extra star has been given for the performance from child star Jodelle Ferland – which in at least one scene verges on the genuinely creepy.

What could have been a chilling shocker has been delivered as straight-to-dvd standard tosh. After the equally awful “Pandorum”, director Christian Alvart should start thinking about a new career direction.

“Chloe”, a remake of the French film “Nathalie”, would have been a another run-of-the-mill sexual thriller had it not been in the hands of director Atom Egoyan (director of the sublime “The Sweet Hereafter”) and its fantastic cast.

This film tells the story of a hardworking doctor, Catherine (Julianne Moore), who fears her teacher husband, David(Liam Neeson), is having an affair after he fails to return home on the night of his surprise birthday. To try and discover the truth, Catherine hires an escort, Chloe (Amanda Seyfried), to try and seduce him to see how he would react.

The premise is a little out there, but Moore and Seyfried are so convincing in their roles, that it works. Neeson is a little under used, but he plays his role well – it is never 100% clear how faithful a husband he is. Moore portrays the insecure Catherine with absolute honesty, and you feel her pain when she recounts the love she feels she has lost from her husband. Seyfried is also excellent as Chloe – though her profession is one that most frown upon, you feel for her plight and that she simply wants to be loved.

As this is Hollywood, Chloe’s need for love turns to obsession as she turns nasty after being spurned by a confused Catherine.

There are some neat (if predictable) twists in the tale and the film is directed and written with confidence; however, without this cast and direction, this would have been a very mediocre affair as the story itself is nothing new.

For an entertaining and sexually charged thriller which also takes an honest look at long-term fidelity, this is one to watch.

Not being familiar with the original “The Crazies”, I went into the remake with very little expectations. The first teaser, which played out to the Gary Jules version of “Mad World”, was very eerie and full of suspense, so I could only hope the finished film would represent this. I am happy to report that it does.

Director Breck Eisner has crafted a superbly entertaining thriller (it is more thriller than horror), with engaging characters and some superb set pieces that linger in the mind long after the final reel.

The film tells the story of a small town infected by a military virus (initiated after a plane carrying it crashes in a nearby swamp). However, the army quickly learns of the incident, and goes all out to ensure no-one ever learns about what happened. Only a handful of survivors know the truth and must battle to escape. So, all in all, “The Crazies” plays (very successfully) as a “28 Days Later”-esque horror come military conspiracy thriller.

Lead actors Timothy Olyphant and Radha Mitchell are in fantastic form as the town sheriff and doctor respectively – they buy into their parts and are entirely convincing as a couple, which helps us get fully behind them in their bid to escape.

The film is a suspense filled ride, but there are two stand out set-pieces – the car wash sequence and the truck stop finale – these will have you on the edge of your seat (or cowering under it!).

In a genre that is filled with remakes and sequels, this version of “The Crazies” has been a huge a huge success in this reviewers eyes and look forward to seeing it again.

I agree with alot with some points you have made,to have not read the book would make it such a better film! however, this film did give me the emotional rollercoster (at times) that the book delivered, it’s wonderful use of colour for Susie’s imagination brought the film to life.

It’s certificate of 12a I must admit is maybe a little low.

Overall though Peter Jackson’s interpretation of the film I felt was true to the book (almost page to page) but to know the ending I think spoilt the film, I’m not really sure what I expected to be different!

“Solomon Kane” was one of those rare events in the film world these days – a film that comes completely out-of-the-blue with little or no expectations coming with it.

The creator of the character of Solomon also gave us Conan and this film tries to give us something similar to the entertaining ’80s flicks that gave the world Arnie.

Though the film-makers give it a damn good try, “Solomon Kane” isn’t an all out success. The production values are fantastic and the producers have stretched every cent of their small budget across the film – it looks better than it really deserves to at time. Also, there are some great character actors thrown in – our favourite being the always fantastic Max Von Sydow.

The script is less original. Though it starts with some action that could have walked straight out of “Lord Of The Rings”, it quickly deteriorates into a common “rescue the girl” format; this wouldn’t be an issue, but Kane isn’t the most likeable of characters – half the time he is drunk, the other half he is killing monsters and feeling bad about it.

Things pick up as the finale approaches but even this still feels a little lacklustre (the budget’s restrictions are too evident in the depiction of the big bad guy) and the sequel-baiting ending feels too obvious.

If you are up for a throw away film on a Saturday afternoon, you could do a lot worse than “Solomon Kane”. It’s a two star film, given an extra star for the excellent work from the film makers.

In the wonderful world of film, the adaptation of an existing novel is common place. At times, the translation is a perfect fit, at others, it all falls flat. Unfortunately, Peter Jackson’s eagerly anticipated movie version (based on the bestseller by Alice Sebold) slips into the latter category – this reviewer found very little that was lovely here.

The book – a dreamy and heartfelt look at loss, grief and redemption told through the eyes of a murdered teenager from her view from heaven – is full of so much emotion, life, love, loss and all of this seems jettisoned from the script by this Oscar winning team. The film feels episodic, so where a book can let the reader imagine the length of time passed after this short life was extinguished, on the screen it just feels utterly forced and devoid of any life.

The script must be to blame as the usually exceptional acting calibre on offer (Weisz, Wahlberg, Tucci, Sarandon) simply have nothing to work with. Only the awesome Saoirse Ronan comes away with any credit; she truly brings Susie Salmon to life, even in her death.

There are a few brief moments that touch on Jackson’s superb directorial talent (the montage of Susie’s discovery of the true extent of her killer’s past is both terrifying and beautiful) but these are outdone by the majority of the film that fails to deliver.

The film may work better for those who have not read the book on which it is based, but for this fan of the novel, I came away feeling empty – not what this fable is supposed to be about.

One thing is for certain when it comes to “The Wolfman” – getting this picture to cinemas was not an easy ride (the production went through pretty much every trouble it possibly could). Though a three star film, I have given an extra star for the efforts of director Joe Johnston – he has given as a film that has no right to be as enjoyable as it is.

Based on the classic Universal Pictures monster movie, “The Wolfman” tells the story of Lawrence Talbot who returns to his home in England following the news of the violent death of his brother. There, he is reunited with his father (Anthony Hopkins) and meets his brother’s fiance (Emily Blunt). But whilst out in the wilderness, in pursuit of his brother’s killer, Talbot is attacked by an “animal” and soon he turns into a vicious monster.

The film has fantastic production values, with everything from set design to costumes all top notch. The cast are on fine form, Del Toro is brooding as Lawrence, with Hopkins chewing the scenery as his mysterious father. Extra marks go to Hugo Weaving for his delicious turn as the vigilant detective out to solve these gruesome murders.

Speaking of gruesome, the fright and gore factor is unexpectedly present in this film and makes for some genuinely frightening sequences. It is only the werewolf transformations themselves that are a let down; I have seen better in much older films.

With some fun twists in the tale surrounding the origins of this werewolf, the story doesn’t feel too worn considering how old it is.

After all the troubles had by this production, the film makers have delivered a fun and scary picture that does Universal Pictures proud in harkening back to the movies that made that studio what it is today.

Being directed by a fashion designer in some cases would spell disaster for film fans. But, here Tom Ford has given us an exquisite debut picture.

Based on a novel of the same name, “A Single Man” tells the story of an English professor, George, who is left reeling after the sudden death of his long-term partner, Jim.

Set in the ’50’s, George lives in a time where he cannot be open about his sexuality and hence must essentially deal with this unbearable loss on his own. What follows is a look at a day in the life of this crumbling man as he contemplates ending it all. We follow him through his daily routines, we now feel like arduous takes under the weight of his grief, see him try to inspire his students and finally share an evening with his closest friend, Charley (an, as always, excellent Julianne Moore).

What is remarkable is how this first time director immediately captures the time he is portraying and lives of these people we have only just met; particularly in the scenes between George and Charley and George and Jim, you can feel the love and history shared between these people.

Colin Firth deserves all the praise currently going his way – his interpretation of George shows us a man at once strong and sure of himself, while at the same time deeply wounded.

The only negative comment I have on this film is that at times it felt too stylised which took away from the ability to truly empathise with these characters, leaving what should have been a hugely emotional ending somewhat lacking.

However, all in all, this is a tremendous film and this film-goer is certainly looking forward to seeing more work in the film world from Tom Ford.

Chris Columbus is no stranger to family movies; he directed the first two movies in the Harry Potter series.

Unfortunately, the magic Columbus endowed on Harry Potter is sadly lacking in Percy Jackson’s first cinematic outing.

On the plus sight, the film looks fantastic – some classy special effects and location work ensure the movie fits the blockbuster mold. It is the story and script that didn’t sit well with this reviewer.

Percy’s introduction to his Greek God heritage is laid upon us so quickly we have not time to revel in it – Potter gave us a magical world that gradually unfolded, here it is depicted as if it is just an everyday occurrence, thereby diluting the sense of wonder for the audience.

In the novel on which this is based, Percy is 12 years old. Here he is a more worldly 17. Again, this makes for more typical “buddy” banter (thank you Brandon T. Jackson for one of the most annoying sidekicks I can remember!), and this feels incredibly out of place in this world of Gods and monsters.

The story tries to be clever in its contemporary take on Greek mythology, but in most cases it feels lazy – Medusa in sun glasses just isn’t scary (though Uma Thurman is fun in the short role) and Steve Coogan – the God of the Underworld – is horrendously miscast.

The stakes are raised in typical family fare fashion – Percy’s human mother is held captive – and the trio of demi Gods go an adventure to secure her rescue. But the film has to play to its demographic, so there is never any real suspense in the plot.

This is the first film in a very long while that made me literally groan in disgust throughout its two hour running time and can only hope that the inevitable next instalment takes a few more risks.

It is no surprise that “Paranormal Activity” has been compared to the last low budget monster hit, “The Blair Witch Project”. Whilst both films share a basic filmmaking style and an innovative marketing approach, this is where the similarities end.

To put it bluntly, if an episode of “Most Haunted” gives you the willies, “Paranormal Activity” will scar you for weeks. Not since the aforementioned “Blair Witch” have I been so terrified by a film a such a primal way. There are no CGI effects, no jump scares aided by a sudden noise on the soundtrack, this film scares you in a purely basic and effective way – what if something was in your room while you slept? This is something that easily makes everyone feel uneasy.

The first portion of the film takes it’s time to introduce us to the central couple and to gently ease us into their predicament. Therefore, the first time we witness the overnight footage of the pair’s bedroom it fills us with dread. As the film progresses, and as the phenomenon get increasingly disturbing, it is impossible to stop shivers spiralling down the spine.

There is no Hollywood inteference here – there is no real explanation for what is happening and no easy way out, this leads to a shocking and memorable climax.

If you are a horror fan that has been craving a quality scare, this is the one to watch.