Pixar’s spot on again with this cute robot classic…

Most Pixar characters are instantly lovable, whether it be the affable Woody from Toy Story, Monsters Inc’s big cuddly Sulley or cute little Nemo. So it is with a little trepidation that you first approach clunky robot WALL-E – or ‘Waste Allocation Load Lifter Earth-Class’ to give it its full name – and hope to cherish it in the same way.

Of course any fears you may have that Pixar has set itself up for a fall are soon dispelled.


Superbad (15)

High school hi-jinx are taken to another level in this teen comedy from the makers of Knocked Up.

Within seconds of the retro opening credits the scene is set firmly back in the modern world with high school buddies Evan (Michael Cera) and Seth (the excellent Jonah Hill) discussing what porn sites they can afford to subscribe to.

This tone of teen humour is largely carried on throughout the film, with jokes that make American Pie look like a Disney film.


Son Of Rambow (12A)

Despite the additional W in the title, this cute tale of wannabe film heroes is very much endorsed by Stallone and co, and rightly so.

The film delves semi-autobiographically into writer and director Garth Jenning’s – thankfully redeeming himself after the woeful Hitchhiker’s Guide To The Galaxy – childhood somewhere in the early 80’s when summers were still hot and children could still throw themselves of rope swings into deep rivers, play on disused industrial sites and cause general harmless mayhem.


Knocked Up (15)

As funny a man as Judd Apatow must be with writing credits as good as Superbad under his belt, you constantly get the feeling he’s out of touch in this attempt at a high-brow, low-fi romantic comedy crossover.

While there are plenty of laughs throughout, the film clearly recognises its own problems from the start. Put simply, the plot and narrative are just too far-fetched, and while for most comedies thrive on this aspect, this is one that takes itself too seriously to do so.


Everything (18)

The premise is simple: A man in his late 40’s visits a prostitute in an upstairs London apartment nine days in a row without once soliciting a sexual favour.

Naturally his manner is suspicious and makes both feel uneasy, leaving the viewer to guess as to why he is there. Like many British films this is far from mainstream cinema.

Gritty and challenging throughout, Everything simply epitomises Britishness in its entirety. This stretches from the murky London setting right through to the typically stark character acting.