Arthur Christmas is a fun and festive film, perfect for children and adults alike. The 3D Sony Pictures animation – written and directed by Sarah Smith – has a voice cast of top British actors including James McAvoy (Gnomeo and Juliet, Narnia), Hugh Laurie, Jim Broadbent (Bridget Jones) and Bill Nighly.

‘Twas the night before Christmas, and all through the house not a creature is stirring, not even a mouse. But if that mouse had woken, it would have seen the high tech S1 space ship silently hover over the town, before hundreds of athletic, Santa agent elves bungee onto the roofs of the sleeping neighbourhood. Back flipping and cartwheeling, they silently swing through windows and cat flaps, dodging obstacles with their high-tech gadgets. This is what happens when Mission Impossible meets Santa. It is a fantastic opening scene which cleverly takes the traditionally quiet night before Christmas and turns it into an action-packed, futuristic few minutes.

Bumbling, overweight Santa is now only a figurehead, who is only good at getting in the way of the present-delivery mission. So you can’t help but laugh when poor, naive Santa is treated by his elf helpers like an overweight toddler; he proudly waddles over to a Christmas tree, guided by the elves waving glow sticks, and lays down a single present. It’s his one job of the night but he does it with such pride and effort. Luckily, he has his two sons, Arthur and Steve, to help out too.

You can’t help but love Arthur Claus; not only is he caring and sweet but he can pull off one of those terrible festive jumpers pretty well. He is passionate about Christmas, but despite being Santa’s son, he is shoved in the background and is put in charge of the ‘letters’ department. Poor bumbling and clumsy Arthur seems to draw chaos wherever he goes, tripping over elves and setting things on fire. He feels neglected and ignored compared to the attention his older brother Steve gets.

Steve Claus (Hugh Laurie) is a military organised, coffee-addicted macho man, who has a good heart but his work always seems to come first. Arthur believes that Steve has stripped Christmas of its real magic, by throwing out the old tradition of a sleigh and reindeer (like their Grand Santa used) and replacing it with space ships and mobile phones which Grand Santa (Nighly) describes in one of the funniest quotes of the film,’There you go again, texting on your calculator!’

When a little girl named Gwen, has her present left behind, Arthur is determined to deliver it in time for Christmas. However, to Steve the mission is complete and the missed child is simply a tiny glitch in the system which should be ignored. Arthur ignores his stubborn brother, takes the present and embarks on his adventure to Gwen’s house in Cornwall with Grand Santa, where they let Evie (the old mothball-covered sleigh) fly one more time. But a sleigh can’t fly without the reindeer and it’s up to Grand Santa to call them to the sleigh.

This side-splitting scene is one of the most memorable. Grand Santa slowly approaches the reindeer who are standing majestically, awaiting their master’s call. Uplifting music begins to play as Grand Santa calls some of the reindeer forward, ‘Come on dancer, prancer…’. Everything is beautiful, moving and magical; that is until his old age kicks in ‘…err, what are the rest called? Err.. John, Bambi and you with the white ear’.

They set off on their adventure to England unaware they have a stowaway: Bryony, the Chief Wrapping Elf who can ‘wrap anything with three bits of sticky tape. Three!’, which after a while, becomes her annoying quote of the film. After getting lost, the group crash-land in Africa where they distract hungry lions with kitten-like games. A red laser pen suddenly becomes the most amazing thing in the world. This entertaining scene sees the lions playfully chase after a tiny red dot and clamp their claws around it. And just like every cat does, upon opening their paws, the confusion kicks in. Where’s it gone? How could it have escaped? These very important questions distract the lions and allow the group to escape, before finally making it to the British coast. But they still have to beat the sunrise to Gwen’s house and deliver the present.

Arthur Christmas is certainly the best Christmas comedy of 2011 and Grand Santa’s hilarious antics will keep you laughing for days. For me, he was certainly the star of the show.

Given that it was directed by Jin Choi II (Lilo and Stitch) and Peter Lepeniotis (Toy Story 2), it is a big surprise this animation was such a let  down.

Produced by Cookie Jar Entertainment, (MetaJets) this animation film sees a young boy called Trevor trying to prove to his friend Veronica, that Santa Claus exists. Veronica – a sceptical science geek – only believes what she can see, so the idea of an overweight man being carried by a few ‘flying’ reindeer doesn’t amuse her. However, a song with an incessant repetitive chorus just about gets the message across.

With the help of his two friends, Errol and Gabriel, (Nathan Stephenson), Trevor plans to capture Santa and prove to Veronica and the rest of the world that Father Christmas exists.

Meanwhile, a corrupt icicle monster called Lefreeze (Cathal J. Dodd) is plotting his revenge against the podgy present giver, because he didn’t receive a gift one Christmas as a young icicle. So, with his snowmen sidekicks, this band of icy evil-doers travel on a huge Christmas pudding planet to kidnap Santa.

While Lefreeze and Trevor are planning to snatch Santa, the man himself (played by William Shatner) is planning to break his North Pole round-trip record. Perhaps he wants to get out of the house, as his stylish, rail thin wife (Kristina Nicoll) has got it into her head that he should take up a healthier diet?

Most of the songs spontaneously interrupt the dialogue and are not very catchy or memorable. The most entertaining number is sung by Lefreeze. The moody icicle monster suddenly decides to dance, wearing a top hat, swinging a cane and doing can-can kicks, all while singing a jazzy track.

For a children’s film, it doesn’t capture the imagination or keep you interested. The story line is predictable and the songs are forgettable. In addition, for children who are at the cusp of not believing in Santa Claus, Veronica pushes the idea of  Santa Claus being a myth, far too strongly. Veronica’s pointing out unrealistic statistics, which are supposed to be possible for Santa, might be the final piece of the puzzle for some children. And what a shame, just before Christmas.

The film explores the sensitive subject of adoption and delves into the past of the main character, Po, played by Jack Black. This potentially tricky theme is handled in a very playful yet moving way, and is made even more relevant by the fact that Angelina Jolie, serial adopter and earth mother, is a member of the cast.

Speaking of the cast, you will have to wait a long time to see such an eclectic mix of actors and actresses in one film. To name a few ingredients in this stir fry of acting talent, we see Jackie Chan, Dustin Hoffman, Danny McBride and Seth Rogen, (and even more remarkably, the latter goes an entire film without a bong passing his lips).

Despite being set in the remotest part of ancient China, in true Hollywood fashion, the bad guy is voiced by an Englishman, and a spiffing good job he does too! Gary Oldman is evil peacock overlord Shen, a beautiful yet deadly villain and aptly animalistic representation of all that is evil. For if Mean Girls taught us anything, it is that beauty = pure evil.

The animation is stunning, with goosebump-inducing action sequences and possibly the cutest cartoon baby panda ever! Blended into the narrative are anime-style comic strips that give the audience all the relevant information but also imparts a really authentic Chinese aesthetic.

This film, though ultimately a barrel of fun, is in places not only touching, but is also an positive picture of adoption and parent-child relationships. You will find it hard not to shed a few tears, and that goes for the boys too, but you’ll be laughing even more.

Brilliantly entertaining, magical, full throttle pand‘a’monium!

This unique mesh of animated sequences, black and white filming and reconstructions of historical events, address both the content and context of Allen Ginsberg’s poem, Howl – and in this sense, it will probably run the risk of being used as an educational aid. It’s a risk because, although this is no doubt a good introduction for those studying the ‘Beat Generation’, Howl should certainly be recognised as a superb film in it’s own right.

The plot, if you’re looking for a plot, follows the 1957 obscenity trial of Howl’s publisher, alternating between courtroom drama, and interviews with Ginsberg himself, played by James Franco. But the outcome is predictable enough, and unusually, it’s not what drives the action forwards.

Franco, however, does make for captivating viewing. He reiterates, quite possibly word for word, an interview with a journalist regarding the trial, as well as his unique vision for poetry and literature. From Ginsberg‘s croaky intonation, to his slightly stiff posture, it’s all there. He’s charismatic yet awkward, enthusiastic but humble. You don’t quite forget that it’s Franco playing the part of the literary legend, but you do get a sense that he has somehow tapped into the poet’s psyche.

Since the film premièred at the Sundance Film Festival, the actor has received a huge amount of praise for his portrayal of the poet – and indeed, by all accounts, it’s spot on. It’s also a million miles away from his last starring role as Aron Ralston in Danny Boyle’s 127 Hours – demonstrating Franco’s exceptional talent when it comes to the difficult task of playing characters which aren’t entirely fictional.

However, although he may be particularly impressive, it is not Franco who runs the show. Neither is it Mad Men‘s Jon Hamm, who fails to make much of an impact all, considering this film could prove significant in his attempt at making the transition to the big screen.

Rather, it is the poem itself which is the driving force of this narrative. Throughout the film, Howl is presented in it’s entirety, accompanied by the curious animated imagery of New Yorker cover artist Eric Drooker (who collaborated with Ginsberg in the 1990s), which provides an interesting interpretation – if not a little literal at times – of the poem’s words and meaning.

Yet Howl does not revel in any kind of beatnik exclusivity – it does not simply show its audience a movement of which they can never be a part, although this is undoubtedly the case. Instead it draws the viewer in, and with an occasional glance at a younger Ginsberg reading the poem at the infamous Six Gallery in San Francisco, invites the audience to spend a moment in the company of the likes of Jack Kerouac and Neal Cassady. Howl takes something of an experimental approach but it works and, whilst it might not be for everyone, it’s certainly a must-see for angel-headed hipsters and Beat fans today.

Owls are seriously incredible birds to watch, real or otherwise. Their eyes are huge and expressive. Their heads can rotate a whopping 270 degrees, and of course, they fly completely silently. So, what happens when someone writes a fantasy epic about an owl kingdom, complete with war, revenge, racism and a huge cast?

A damn entertaining hour and a half, that’s what happens. This is a young adult’s film, but we’ll say this much – it’s not just for teeny-boppers and people who’re not quite old enough to digest the Twilight saga. The film appeals equally to children and small adults, and the mature narrative works on two levels.

Soren is your average Tito owl, that is handsome and lives in the forest. He’s got a brother, a sister, and two parents – oh, and his nurse-maid is a snake. Thought I’d mention that oddity to give you an idea of how dissimilar this is to any other animal-themed kids film. One day, him and his brother are kidnapped by a couple of evil owls, and taken to the lair of Metalbeak, evil owl supremo.

Soon enough, the brothers are divided – Soren turned into a slave, and his brother Kludd (a rather weak-minded, traitorous bird) choosing to take the “noble pure race” fast-track to a career as a soldier. Escaping the clutches with a wee female sidekick, Soren gathers a rag-tag bunch of quirky owls, and goes in search of the legendary Guardians. An honourable mention also goes out to A-list actors Helen Mirren and Hugo Weaving as Nyra the evil owl queen and Soren’s father, respectively, both actors lend the film some great voice acting.

It’s all a bit much to take in at first – though to be fair, that’s mainly due to the fact it’s a three-book story crammed into around 90 minutes. But it works – there’s never a moment where nothing is happening, where there’s no story progression. Long journeys across the ocean and back are absent, leaving us with the real meat of what’s going on.

From start to finish, it’s war, and it’s bloody. For a younger audience, parents may want to bear in mind the film’s not suited to toddlers – owls are brutal killers, and an innocent mouse getting eaten, then thrown up later is one of the first things they’ll learn about these amazing creatures. But the cinematography is such that there’s never any on-screen blood and gore, which is a smart decision on the part of director Zack Snyder.

The CGI itself is breathtaking, and we urge you to see it in 3D if you can. The vistas are breathtaking, and the detail on each individual owl is such that it takes away any doubt that these are humanised owls. Body language is foreign, though it’s an oddity that almost every owl in the film talks with an Australian accent, which may throw a few UK viewers more used to Americans with the odd Brit stereotype (don’t worry, there’s one in Guardians, too).

It is in the realm of the visual that Guardians soars, and ties in so well with the story. Kids may find themselves occasionally a little lost, as the vocabulary used by some of the older, wiser owls sometimes reaches English undergraduate levels of obscure complexity, but it all contributes to the spectacle and the message: every owl is different, and it doesn’t make anyone less worthy.

Like Harry Potter before it, this film imparts strong messages about loyalty, anti-prejudice and the unfortunate necessity of violence, and no child is likely to walk out of the cinema wanting a small metal set of claws (you might want to keep London’s Camden High Street a secret for a while then, eh?). It’s something you can really sink your teeth (talons or beak) into, and we eagerly anticipate the next instalment.

Sitting down to watch anything to do with Star Wars makes most geeks excited. It’s by far one of the most creative, well-known sci-fi franchises of all time, if not the most well-known. George Lucas has, in his infinite wisdom, also decided that the Clone Wars, set between Episode II and III and covering one of the most important military campaigns in the galaxy’s history, is ripe for storytelling.

The opening double-bill, which hit Sky Movies HD at 5:30pm on October 23rd for anyone who’s eager to see it, didn’t focus solely on Anakin and Obi-Wan. Instead, we’re exposed to an area of the Clone Wars that many are curious about: the training and mental disposition of the clones themselves. Created from the DNA of now-dead and legendary bounty hunter Jango Fett (father of the infamous Boba), they are created and trained for war from birth.

The episode follows Domino Squad, a team of five clones who can’t work together. Arrogance, over-reliance on orders – the team’s not gelling together well, and with bad test results they face possible disposal. The clones are well fleshed out, if a little generic in character. Fives is, predictably, the fifth member, Heavy holds the heavy weapon, and Echo is the one always repeating orders. It’s for kids, so this allows them to differentiate, and it works well, though it’s hard to tell them apart visually.

Visually speaking, however, the art style is incredible. Lines so well drawn they look almost like real-life sculptures themselves, the show’s characteristic way of portraying everyone from the clones to Twi’Lek commander Ahsoka Tano, look well-defined and move smoothly and realistically. Well, as realistic as psychic knights who jump twenty feet higher than normal people can, anyway.

The story helps to establish the ongoing saga of conflict between Anakin and the forces of good, versus Grevious, the metal general, and his forces of evil. The double bill is a fantastic start to the series, and with a lot of themes based around teamwork, perseverance, bravery and commitment, not to mention loyalty, kids will walk away with a lot of good morals. For the adults, it’s sometimes a little patronising, but anyone who’s spent an afternoon with Dora the Explorer can tell you that much.

It’s a great way to introduce a whole new generation to Star Wars culture and lore, and one we at TFR severely hope continues down through the next few generations. Star Wars is a classic, and by removing live-action, writing simpler plots and using a lot of themes that encourage kids to do better, we’ll soon have another ton of people putting “Jedi Knight” on the UK Census in ten years. Until then, we’ll make do with Clone Wars, and it’s always welcome, in our book.

‘Up’ tells the story of a boy’s journey through life to old age, illustrating the ups and downs, the joys, sorrows, triumphs, and regrets that he experiences through friendship, romance and marriage. And all in 89 minutes, which is no mean feat.

His adventure teaches him some of life’s most important lessons in a meandering heart-warming treat of a tale. If this is sounding a bit too saccharine for you, or indeed a bit too heavy for your little one, it’s not – and that’s where the film excels.

While kids will be captivated by the visually glorious spectacle, colourful characters and simple plot, adult heart-strings will be tugged by the captivating, action-packed drama that keeps you on the edge of your seat.

As a bonus, the depth to the story wasn’t entirely lost on a young audience either, as my seven-year-old companion remarked at the end: ‘It doesn’t matter about things and stuff, as long as you have people you love, you are very lucky’. Aaaaaah, a ticket worth every penny.