POLISSE ****

France: Maïwenn, 2011

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Based on real cases, POLISSE follows the actions and experiences of members of the Child Protection Unit in the Parisian police force. Awarded the 'Jury Prize' at the 2011 Cannes Film Festival, POLISSE merges documentary-like realism with a fragmented narrative akin to an art-house sensibility.

Instead of being a case by case procedural, the film purposely thwarts our knowledge of the children who fall victim to abuse or the conclusive guilt of the accused adults. Instead, the film breathlessly shifts the focus onto the members of the 'CPU' and spreads a broad canvass to give us glimpses into their lives on and off the job. Perhaps unsurprisingly due to the difficult job they do, we witness the camaraderie and commitment to one another each of the 'CPU' officers have. We see how they let off steam and the challenges each of them faces in trying to lead a 'normal' life away from the office.

Audience expectation is also tested by the film's graphic dialogue which is surprisingly often played for gallows humour not dissimilar to that which you might find in a hospital ward. A genuinely laugh out loud moment, despite the horrendous circumstances, occurs during the interview of a teenage girl who has subjected herself to abuse for the sake of her smartphone. However, POLISSE also plays it serious and on more than one occasion I found this film incredibly hard to take due to the raw human emotion it encaptures in a couple of scenes.

The acting is universally superb with Karin Viard as Nadine demonstrating impressive emotional range plus killer comedic timing and Marina Fois brings conviction to the psychologically haranged Iris. However, Joey Starr (reportedly known to child protection agencies in his own life) as Fred is the film's real stand out. Flawed, vulnerable and personally invested in every case he brings power and pathos to every scene. Perhaps less successful is his on-screen romance with photographer Melissa (played by director and co-writer Maiwenn) which seems fleeting and under developed: an issue one could level at the film itself in places.

The Count's Verdict: Dramatically gripping and darkly comic, POLISSE manages to pull you into the lives of a band of people struggling to cope with the grim realities of child protection whilst never taking the easy route of treating the material in a sensationalist manner. Still be warned, there are a couple scenes which are very difficult to sit through and you may find yourself wishing for more conventional resolution in order to move on.

BRAVE ***½

USA: Mark Andrews, Brenda Chapman and Steve Purcell, 2012

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Everyone seems to be talking about BRAVE in relation to its superiority over Pixar's last film CARS 2. Now whilst I don't feel that film was the travesty many claim, I concur with the logic that it felt alarmingly anonymous to the point of being interchangeable with the glut of studio produced animated dross which is now churned out year on year.

BRAVE promised a return to Pixar's basics: a new and originally conceived idea brought to fruition by a team of talented filmmakers helmed by a new talent from within. Written by Mark Andrews, Steve Purcell, Brenda Chapman, Irene Mecchi and directed by Andrews, Chapman and Purcell - BRAVE tells the story of Scottish Princess Merida (Kelly Macdonald) and her efforts to rebel against the expectations of her mother Queen Elinor (Emma Thompson).

Set against breathtaking vistas of the Scottish highlands (reportedly Pixar rewrote their animation software in order to fully realise such complex animation) the familiar tale of child and parent tension is interspersed with flashbacks to historic clan-folklore and elements of the supernatural.

However, despite this supposed originality BRAVE feels more like the work of other animation studios. The music, plot structure and on-the nose sentimentality (a character even spells out the character arc of change by saying 'We both have'... yuck!) all smacks of parent company Disney. But perhaps more worryingly the film's humour and characterisation (particularly in the design and portrayal of Billy Connolly's Fergus) at times made me feel as though I was watching a DreamWorks film like HOW TO TRAIN YOUR DRAGON.

Ultimately, whatever it's flaws BRAVE is another fine example of the lush and rich animation Pixar can create. It has likeable characters and a fun diverting plot which entertains more than the much derided CARS 2. Although, I cannot say BRAVE is an unqualified success: expectation plays a big part and for a group of filmmakers who have produced masterpieces such as TOY STORY, WALL-E and UP putting out a merely 'good' film is now inevitably problematic.

The Count's Verdict: Kudos to Pixar for returning to an original idea after recent and planned sequels, however, the execution never reaches the emotional maturity or story-telling majesty of their best work. Has this animation studio's unrivalled 'golden-age' now come to an end?

THE BOURNE LEGACY ***½

USA: Tony Gilroy, 2012

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If it wasn't for the trailer (which I saw at a screening of TDKR) I may not have bothered venturing out to the cinema for a seemingly surplus fourth 'Bourne' action-thriller minus Greengrass and Damon. However, I was genuinely impressed... with the first half of THE BOURNE LEGACY at least.

Instead of immediately feeling the need to make the audience see this as another high-octane, shaky-cam 'Bourne' film, director Tony Gilroy's script takes its time to establish Jeremy Renner's alternative 'super agent' Aaron Cross. In the opening scenes we meet Cross, adrift and isolated in what looks like the location of THE GREY - human tracking wolves et al. Plus we are afforded the time to be introduced to other new but recognisible key players: Rachel Weisz's scientist Dr. Marta Shearing, fallout fixer Eric Byer (Ed Norton) and Stacey Keach's organisation boss Mark Turso. In doing so, THE BOURNE LEGACY expands on the universe of the previous trilogy as well as allowing for the promise of more character based drama.

The expected action spectacle, shaky-cam an all, does soon ensue (a shoot-out in a delapitated mansion is a particular highlight) but not at the expense of the plot, which jumps around both geographically and chronologically before bringing THE BOURNE LEGACY somewhat into pararllel with the finale of THE BOURNE ULTIMATUM.

Now at this point I need to return to that interest-making trailer. The footage of which suggests a far greater overlap between this and the previous film than ever actually takes place on screen. So whilst my expectations were not in the stratosphere for THE BOURNE LEGACY, I did kind of anticipate this film to eventually dovetail in some overt fashion with THE BOURNE ULTIMATUM. Think of the correlation utilised in the aforementioned ULTIMATUM and Greengrass' previous entry THE BOURNE SUPREMACY and you'll understand the point I'm driving at. Unfortunately, this never happens?!

Thus once the film gets well into its third act - on the other side of the globe to the manhunt for Jason Bourne - you realise the likelihood of a Matt Damon cameo is caput. Morever, the highly intriguing possibility of the pursuit of Jason Bourne in New York somehow providing Aaron Cross and Marta Shearing an opportunity to elude their persuers in the same city is rendered a non-starter. The script isn't even able to facilitate a dramatic showdown between Cross (Renner) and his pursuer Eric (Norton). Leaving me feeling Norton has once again been criminally underused by a Hollywood mainstream film.

Another slight let down is that THE BOURNE LEGACY begins to blunt its potential for genuine characteristation (despite the best efforts of Renner and Weisz who are both excellent) as its main narrative drive - Cross' search for drugs to 'stay enhanced' and the medical wizardry his fellow fugitive Dr. Shearing is trying to perfect for him - becomes tediously one note. Thus when the film does finally reach its conclusion (without ever fulfilling the promise of its trailer or the potential of its own first hour) I was left feeling the structure and balance of the film was glaringly uneven.

Now I fully acknowledge a rewatch without such preconceptions on my part might erase some of this uneasiness I felt with the development of the film. Although, I very much doubt the extended motorcycle chase which brings THE BOURNE LEGACY to its finale or the film's closing scene will amount to any more than what I think now: the former is allowed to go on far too long and lacks the panache of the previous Greengrass/Damon films whilst the latter brings an engaging screen relationship to a lazily underwritten close.

The Count's Verdict: The 'Bourne' brand doesn't sink this Hollywood thriller which packs plot as well as punches albeit if in the end it does ultimately feel like a slightly less satisfying retread of the previous Matt Damon films. Worth seeing for the first hour and a first-rate cast.

THE DARK KNIGHT RISES ****

USA/UK: Christopher Nolan, 2012

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THE DARK KNIGHT RISES has one of those rarities of mainstream Hollywood blockbuster cinema: a strong and stirring ending. Good job too as plenty of flaws preceded it in this Nolan helmed finale for the caped crusader.

The problems of both BATMAN BEGINS and to an even greater degree THE DARK KNIGHT are increasingly present here (uneven plot structure, wayward pacing, too many villains). However, like many, my love for Christopher Nolan and David S. Goyer's revision and cinematic revival of the Batman wins out against my rationality. Yes, it is far from perfect and is undoubtedly the weakest film in the trilogy but it remains a total blast.

Although even my long standing affection for the material and my high esteem for Nolan can't forgive the casting of Marion Cotillard. I had issues engaging with her performance in INCEPTION and her inability to convey credible emotion is even more evident in her vapid display here. Not wanting to give away too much of the plot but in a key scene toward the climax of this film Cotillard is truly, excruciatingly awful!

I'm also not keen on Bane as a character (despite having a lot of affection for actor Tom Hardy) and actually found him to be one of the least interesting villains of any superhero film I've seen.

The Count's Verdict: Definitely got bum notes (especially Marion Cotillard's performance). But if you like Nolan's vision of Batman you'll love it!

PROMETHEUS ***½

USA: Ridley Scott, 2012

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PROMETHEUS raises as many questions as it answers. I'm unsure the choices made to expand/explain 'Alien' universe enrich rather than reduce. What is clear in immediate aftermath of seeing PROMETHEUS; it makes ALIEN even more of a masterpiece in comparison. Simple idea executed to perfection.

The Count's Verdict: Arguably the most anticipated film of the year deserves to be seen and delivers Scott's trademark visual excellence but the script just isn't anywhere near good enough.

To hear a more in-depth consideration of the film and more detail about my responses to PROMETHEUS, check out the Movie Matters podcast at moviematterspodcast.blogspot.co.uk/2012/06/movie-matters-mini-2-prometheus.html

THE AVENGERS ****½

aka Avengers Assemble
USA: Joss Whedon, 2012

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Kudos to Joss Whedon. THE AVENGERS proved to be as resoundingly entertaining and epic as a HUGE blockbuster encompassing an ensemble cast could be. Surprisingly but undoubtedly my favourite film of 2012 so far.

The most pleasing aspect of the film on a personal level was the handling of The Hulk. Not only does he get to play more than a cameo, he finally gets to be a hero.

Enough talk... Go see it!

The Count's Verdict: Marvel bring one of the swiftest (4 or 5 years) film franchises ever to a near perfect climax leaving the legacy of a rich and entertaining cinematic universe which doesn't destroy the heritage of the comics.

THE HUNGER GAMES **½

USA: Gary Ross, 2012

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Having not read the book or followed the media discourse, I went into the cinema with an open mind. My main attraction to the film was to see Jennifer Lawrence in a lead role in a big film. After a needlessly overlong two hours twenty minutes, I came out thinking what a shame it was that the kernel of a good idea - albeit unoriginal - this film promises is never fulfilled due to its blatant courting of mainstream acceptability.

THE HUNGER GAMES should be a full on gore-fest with hard, biting SF satire. Instead what you end up with is a clumisily (shaky-cam) directed and heavily thematically diluted reworking of THE RUNNING MAN and BATTLE ROYALE sanitised and made bland for the broadest audience possible.

No doubt it'll go on to be an enormous hit with early teen TWILIGHT generation and further cement Lawrence as a rising star. Sadly, for anyone over its 12A rating THE HUNGER GAMES will leave you pondering what might've of been if the studio and filmmakers had delivered on the dark dystopian promise the material and the texts that inspired it undoubtedly offered.

The Count's Verdict: There is a decent genre movie in here somewhere it just gets swallowed by the safe and shameless studio polish heavily applied the longer the film goes on. Jennifer Lawrence is watchable as always but isn't asked to extend her range far here. A missed opportunity although I concede I'm not the target demographic for this film.

THE WOMAN IN BLACK ***½

UK: James Watkins, 2011

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Having been terrorised by the long running and rightly celebrated stage adaptation of Susan Hill's classic ghost story novel 'The Woman In Black', I'd long had my eye on the reborn Hammer film version. The casting of speccy Potter - Daniel Radcliffe - in the lead tempered my enthusiasm somewhat as did the decision to go with a 12A rating. However, Watkins film manages to overcome my irrational prejudices, particularly at the start where good use is made of both faithful and new material to set-up the chills that are sure to follow. Perhaps most successful is the genuine atmosphere of gothic horror that is brought to both the remote English landscape and isolated house setting. Although to say Watkins big screen adaptation brings anything new to the long litany of cinematic ghost stories is over stating things. Unfortunately, the tension is allowed to sag slightly as we build toward a climax that is too reliant on digital effects and predictable jump scares to rival the true terror of its stageound counterpart or even that of its TV Movie brethren. The changes made to the ending also bring nothing extra to Hill's impressive original but all in all THE WOMAN IN BLACK is fine spinetingling fun.

The Count's Verdict: The quality of the source material ensures Hammer will find an audience with this latest entry into the much mined 'ghost story' tradition of horror cinema. This feature film outing of THE WOMAN IN BLACK may not offer anything new but it still manages to deliver in the atmosphere department and will deliver chills for all the family.

SHAME **½

UK: Steve McQueen, 2011

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A film praised by many for its unflinching look at difficult and adult themes. A dominating central performance by Michael Fassbender and assured direction from Steve McQueen. A subtle and effective score. However, despite all this SHAME left me cold and underwhelmed. It felt overlong, under-written, forced in its foregrounding of long takes, ditto male nudity and ultimately devoid of any engaging characterisations. Shame.

The Count's Verdict: Moments to admire on a technical level include long single take scenes and lingering close-ups but if your someone who prefers some investment in characters in said scenes look elsewhere.

THE GIRL WITH THE DRAGON TATTOO ****½

USA/Sweden/UK/Germany: David Fincher, 2011

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David Fincher's THE GIRL WITH THE DRAGON TATTOO provides a fascinating re-adaptation of the original source novel which both retains and changes the plot to make the material its own. Crucially, Fincher's version (like the Niels Arden Oplev Swedish film adaptation before it) stands on its own terms as a gripping and compelling crime thriller that makes over zealous anxiety around which version (novel, Swedish or Anglicised film adaptation) is the definitive one, largely academic.

The biggest problem Fincher's film has is the inherent one of being an English language film set adrift in the Swedish backdrop of Stieg Larsson's bestselling book. This is particularly noticeable in Daniel Craig's performance as Mikael Blomkvist. Fine actor he may be but hearing Craig deliver his lines in an unaffected English accent atop of a smorgasbord of faux Scandinavian dialects is unquestionably jarring and a flaw that I'm not convinced the film ever fully recovers from. Although it should be noted cast members such as Christopher Plummer (Henrik Vanger), Robin Wright (Erica Berger) and most emphatically Rooney Mara (Lisbeth Salander) are note perfect no matter the language.

However, despite being a huge fan of Larsson's novel and the original Swedish film adaptation I went into this film with an open mind and fortunately there is plenty to be impressed by. The opening credit sequence - despite being a separate entity from the aesthetic of the film - is an awesome display of Fincher's audio/visual sensibilities and acts as a mission statement that distinguishes this version of THE GIRL WITH THE DRAGON TATTOO from any other. Yes this film has a noticeably bigger budget, it has a more distinct style, more technical depth than its Swedish counter-part but the greatest success of Fincher's film is its combination of a confident script by Steven Zaillian anchored around Rooney Mara's fresh portrayal of Lisbeth Salander.

The titular 'girl with the dragon tattoo' is undeniably the most interesting and well realised aspect of Larsson's fiction but that makes for no guarantee of an equally mesmerising vision on screen. Just as Noomi Rapace's inimitable 'Lisbeth' performance elevated the Swedish film and its two sequels, if Mara had faltered it would have sunk Fincher's film. Thankfully, unequivocally, she delivered with a different but no less iconic representation of Lisbeth Salander faithful in spirit to the character on the page. Moreover, Fincher's tender, nay more romantic handling of the Blomkvist and Salander relationship on screen is far closer to how I imagined it as written in the novel. The disappearance of Harriet Vanger and this unlikely duo's investigation into the circumstances surrounding it were always the framing plot device of THE GIRL WITH THE DRAGON TATTOO (in all its variations). The true core of this story plays out in the slow, conflictory and ultimately doomed friendship that Lisbeth forms with Mikael. That Fincher recognises this and allows it to gradually but surely come to the fore is this film's enduring strength.

The Count's Verdict: Have no fear - this 'Hollywood' retelling of a now familiar literary phenomenon can co-exist with both book and Swedish film without prejudice. Indeed, it adds to the entertaining and enthralling story that is THE GIRL WITH THE DRAGON TATTOO.

HUGO 3D ***½

USA: Martin Scorsese, 2011

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I was slightly underwhelmed by HUGO. Not enough film history to satisfy an adult enthusiast nor exciting enough to entertain a child. The much lauded 3D aided the visual spectacle of the film but was by no means essential. Don't get me wrong, there was plenty to enjoy, especially technically, in HUGO but I felt it lagged in pacing and the narrative felt uneven with rather forced vignettes of humour.

So, much to my surprise, a Scorsese pic won't make my Top 10 of 2011. In fact, as divisive a film as last year's SHUTTER ISLAND was I undoubtedly prefer it to HUGO.

The Count's Verdict: Go see it, enjoy it - just beware the hype as no matter what they say HUGO doesn't demonstrably vindicate the need for 3D or hold a candle to Scorsese's best work.

A LONELY PLACE TO DIE ***½

UK: Julian Gilbey, 2011

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INBRED **½

Germany/UK: Alex Chandon, 2011

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SENNENTUNTSCHI: CURSE OF THE ALPS ****

Original Title: Sennentuntschi
Switzerland: Michael Steiner, 2010

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KILL LIST ****

UK: Ben Wheatley, 2011

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SAINT ***

Original Title: Sint
Netherlands: Dick Maas, 2010

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THE INNKEEPERS ***½

USA: Ti West, 2011

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THE DIVIDE **½

Germany/USA/Canada: Xavier Gens, 2011

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THE WOMAN **½

USA: Lucky McKee, 2011

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THE WICKER TREE ***

UK: Robin Hardy, 2010

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