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THE STARKS OF WINTERFELL

Lord Eddard 'Ned' Stark

Lord of Winterfell and Warden of the North. Helped his foster brother Robert Baratheon overthrow King Aerys Targaryen to win the throne, about 18 years prior to the events of the show. Had a sister, Lyanna, who was betrothed to Robert, but she was taken by Prince Rhaegar Targaryen and later died. His father and older brother Brandon were killed by Aerys, and these events helped provoke the uprising against the Targaryens.

His younger brother Benjen is in the Night's Watch - the group of men dedicated to guarding the Wall.  As well as his five legitimate children he shares with his wife Cat, he also has a bastard son, Jon Snow. He brought Jon back to Winterfell as a baby after Robert's Rebellion.

Recently asked by Robert to become his right hand man and accompany him down south to King's Landing, the 'capital'. This was following the mysterious and sudden death from illness of Jon Arryn, their shared foster father and Robert's previous 'Hand'. He has taken his two daughters south with him. Ned has just found out from Littlefinger that the Crown is several million gold in debt thanks to Robert's extravagance. He also met up with his wife in secret before she returned north.

Has been snooping around King's Landing trying to glean bits of information about Jon Arryn's death. After a tipoff from Littlefinger, Ned has acquired a book from Grand Maester Pycelle, which Jon Arryn had been reading shortly before he died. Also found Gendry, a blacksmith's apprentice in the city, who Ned believes to be a bastard of Robert's, sharing his dark hair and piercing eyes. Ned was also due to question Arryn's old squire, but Ser Gregor Clegane killed him in a joust.

After Varys told Ned that Jon Arryn may have been poisoned with 'Tears of Lys', Ned found yet another of Robert's bastards, a baby girl that again had his black hair. Ned became embroiled in a row with his fellow council members about killing Daenerys Targaryen and her unborn child, and resigned as Robert's Hand in protest. He was then set upon by Jaime Lannister, in retaliation for Catelyn's capture of Tyrion. All Ned's men were killed, including Jory Cassel, and Ned received a serious leg injury.

Despite his injury, Robert forceably reinstated Ned as his Hand, and ordered him to rule while he goes off hunting. Ned has heard complaints that Gregor Clegane has been raiding in the Riverlands, killing and raping Catelyn's people. In response, Ned has sent Lord Beric Dondarion to retrieve the Mountain and mete out the king's justice.

Ned confronted Cersei, telling her that he knew her children were Jaime's. He warned her that he would tell Robert, and that she should flee with her children, as Ned knows that Robert will have them all killed when he finds out. While hunting boar, Robert sustains a fatal wound. Seeing that Cersei had not fled as Ned instructed, Ned opted not to tell Robert the truth. On his death bed, Robert dictated his will to Ned, leaving the kingdom in Ned's control until Joffrey comes of age. However instead of writing Joffrey, Ned wrote "my rightful heir". Ned rejected attempts by Renly to launch a coup against the Lannisters, installing Renly as king. Ned said Renly had no claim, and that the throne should pass to the middle Baratheon son, Stannis. Ned asked Littlefinger to grant him use of the King's Landing city guards, in case Cersei started a ruckus. He then proceeded to the throne room and read out the will. Cersei didn't really give a shit, tore it up, and told her guards to arrest Ned. Ned told the city watch to arrest Cersei and Joffrey. As the sides prepared to fight, the watch and Littlefinger turned on Ned, as Littlefinger told Ned he should never have trusted him.

Ned has been confined to a cell. He receives a visit from Varys in one of his disguises, who brings him water, and news of his daughters. Varys tells Ned that Catelyn no longer holds Tyrion captive, and without this bargaining chip Ned fears he will be executed for treason.

Ned received another visit from Varys, who informed him that Robb was marching to war against the Lannisters. Varys also told Ned that Cersei and the Small Council wished for Ned to confess to treason, so that he may be spared the death penalty and shipped off to the Wall. Ned was stubbornly unrepentant, saying he would not lie and bend the knee to Joffrey, and that his honour was worth more than his life. As Varys left, he asked Ned if he had also considered the risk to Sansa's life should he not comply.

Later, as Ned was led out onto the steps of the Sept of Baelor to face trial, he saw Arya in the crowd. He managed to alert Yoren of the Night's Watch to her presence. Having realised the risk to Sansa, Ned publicly confessed to treason, and swore fealty to Joffrey as the true king of the Seven Kingdoms of Westeros. Grand Maester Pycelle put forward the Small Council's wish to show mercy to Ned, and to send him to the Wall. But to the Counci's shock, Joffrey refuses, and orders his headsman, Illyn Payne, to behead Ned. As Cersei and Varys plead with Joffrey to change his mind, and Sansa howls with grief, Ser Illyn raises Ned's own greatsword, Ice, to strike the blow. Ned's final view is that Arya has gone from the crowd, and, knowing that she will be safe with Yoren, he accepts his death.


Lady Catelyn 'Cat' Stark

Originally from further south than the Starks. Has three sons with Ned - Robb, Bran(don) and Rickon - and two daughters - Sansa and Arya. She has never liked Ned's bastard son Jon Snow, as she sees him as a constant reminder of Ned's infidelity. Originally betrothed to Ned's older brother, she was only married off to Ned after Brandon was killed by the Targaryens. Her sister Lysa is Jon Arryn's widow.

Recently decided to go in secret to King's Landing after Ned. She wants to warn him that someone tried to kill Bran, her theory being that he saw something he shouldn't have (the Queen getting boned by her twin brother, though Cat does not know this yet). After arriving in King's Landing, she was told by Littlefinger that the dagger used in the attack now belongs to Tyrion Lannister. Halfway back up the Kingsroad she encountered Tyrion Lannister in an inn, and, fearing that she would not get another chance, hastily called on her father's riverlands bannermen to arrest the Imp for Bran's attempted murder.

Catelyn announced that she was taking Tyrion back to Winterfell, though that was just to throw any pursuers of the scent. She has in fact taken him to her sister at the Eyrie. After demanding trial by combat, however, Tyrion won his freedom.

Cat confronts Lysa about withholding a letter from her which tells of Robert's death, Ned's capture, and Robb's intent to go to war. Cat asks for Lysa's help in the war against the Lannisters, but Lysa refuses, preferring to hide away in the Vale minding her own business.

After heading south with the Stark army, Catelyn arrived the the Trident, one of the biggest rivers in Westeros, and its crossing, the Twins, a fortified bridge controlled by Lord Walder Frey. Walder is a bannerman of Catelyn's father, so she goes to negotiate the crossing. After some hard bargaining, she is granted passage, as well as a large part of Frey's forces. In return, Arya and Robb are to be betrothed to two of Frey's many children.

After learning of her husband's death, Cat vows to kill the Lannisters. She talks with Ser Jaime, who is his usual arrogant and unrepentant self.


Robb Stark

Ned and Cat's eldest child, who is roughly of an age with Jon Snow.

Recently acquired a direwolf pup, which he has named Grey Wind. Is taking a more active hand in ruling Winterfell while his father is away and his mother grieves for Bran.

Robb recently saved Bran from a group of wildlings who had fled the lands beyond the Wall.

After receiving a letter from Sansa pleading for Robb's fealty, Robb decides against it, and calls his father's bannermen to go to war. One of these men, Greatjon Umber, demands to be appointed leader of Robb's vanguard, but Robb refuses. When Umber goes to draw his sword, Grey Wind attacks him and bites off his fingers. Later, while marching south, Robb has to decide whether to attack Ser Jaime's host, or that of Lord Tywin. They capture a Lannister scout, and Robb lets him go, telling him to send a message to Tywin Lannister that "Winter is coming to him".

After his mother successfully negotiated passage across the Twins, Robb reluctantly agreed to Walder Frey's terms. After crossing the Trident, Robb divides his forces, sending a group of 2000 to march on Tywin Lannister's camp. However this is merely a diversionary tactic: the greater part of Robb's host is on its way to Riverrun for a surprise attack on Jaime Lannister's army. They were successful, and managed to capture Jaime himself as a hostage.

After grieving for his father, Robb suggests that they form a pact with Stannis Baratheon, whom he thinks has the best claim to the throne. Greatjon Umber is not impressed, and rouses his fellow northmen to proclaim Robb 'The King in the North'.


Bran Stark

Ned and Catelyn's middle son. Had a love and talent for climbing, and aspirations to be a knight.

Recently paralysed from the waist down after being pushed from a window by Jaime Lannister. He was in a coma for over a month but has just awoken. While he was out, a fire was started at Winterfell to divert attention. When Bran was unguarded a man came into his room with a view to finishing him off. However the attempt was unsuccessful due to the presence of Catelyn and Bran's as-yet-unnamed direwolf, and the assailant was killed. Catelyn suspects that the Lannisters hired the assassin, and this suspicion seems confirmed after Littlefinger told her the dagger used now belongs to Tyrion. Has been gifted the plans for a custom saddle by Tyrion, so that he might ride a horse again.

After the completion of his saddle, Bran went riding in the woods with Robb and Theon. He became separated from them, however, and was ambushed by some wildlings. Luckily he was rescued.

Bran pleaded with Robb to let him accompany him to war, but Robb refused, telling Bran he must be acting lord of Winterfell, and look after his brother Rickon.

Bran and Rickon share a vivid dream of meeting their father in the Winterfell crypts. Shortly afterwards, Maester Luwin receives word of Ned's death.


Sansa Stark

The eldest daughter of Ned and Catelyn. Sansa is a bit of a girly drip who just wants to be a fairytale princess and live in a beautiful castle with her noble Prince Joffrey. Unfortunately for her, her betrothed is a cunt. Sansa has a poor relationship with her younger sister Arya, as they are polar opposites in personality.

Recently accompanied her father south to King's Landing, after King Robert proposed a betrothal between her and Prince Joffrey. Her direwolf, Lady, was killed by Ned at Robert's command in response to Joff being attacked by Arya's wolf.

After being capture by the Lannister guards, Cersei convinces Sansa to write a letter to her family, pleading with them to bend the knee to Joffrey. She then attended court to plead with Joffrey, begging for mercy if she could convince her father to bend the knee.

After her father confessed to treason, Sansa knew that Joffrey would spare his life. To her horror however, he betrayed her, and Sansa was forced to watch as Eddard was beheaded.

Later, Sansa is forced by Joffrey to look upon her father's head, and those of the other murdered northerners.


Arya (pronounced randomly as Ar-ya and Ar-ee-a by the looks of it) Stark

Brilliant little scene-stealing tomboy. She is reluctantly schooled in all sorts of girly pursuits as is befitting a girl of noble birth, but she'd much rather swordfight or hunt. She is the proud owner of a custom-made short rapier called 'Needle', given to her by Jon Snow as a leaving present.

Recently went along the Kingsroad south to King's Landing with her father and sister. Arya forced her direwolf Nymeria to flee so that she would not be killed after mauling Joffrey Baratheon. She is now taking swordfighting lessons organised by Ned with a flamboyant instructor, Syrio.

While chasing cats at the instruction of Syrio, Arya found herself in the dungeons. After seeing the skull of Balerion the Black, the largest of the ancient Targaryen dragons, she then spied two men having a conversation and overheard them saying something about killing her father. She tried to warn him but her recollection was garbled and Ned dismissed it as babbling.

After Ned's imprisonment, Lannister guards were sent to kill his remaining northmen and capture his daughters. Syrio refused them access to Arya, and ended up fighting them off while she fled. After escaping the keep, she found her sword, Needle. She was apprehended by a stable boy who tried to capture her for a reward, but Arya killed him and ran away.

Arya has been living as a beggar on the streets of King's Landing, and finds a crowd gathered at the Sept of Baelor. She follows, and sees it is her father they are leading out, to be judged. After Joffrey ordered Ned beheaded, Arya unsheaths Needle and moves to intervene, only to be stopped by the black brother Yoren. Yoren grabs her and forces her away so that she cannot see her father's death.

Yoren is taking Arya back to the Wall, disguised as a boy called 'Arry. She meets with Gendry, one of Robert Baratheon's bastards, who is being smuggled out of the city before Cersei can track him down.


Theon Greyjoy

Ned Stark's ward. He is treated very well by the Starks, but he is essentially a political hostage, taken as a child after his father Balon tried to rise up against King Robert.

Recently waved his wang all over the place which put me right off my tea.

After saying goodbye to his bit of stuff, Ros, Theon saved Bran Stark from a wildling ambush. Despite this, he only managed to earn Robb's ire rather than his gratitude, as Robb deemed Theon's actions to be reckless.

Theon tried to threaten Osha, the wildling girl they captured, but Maester Luwin intervened. Theon has since accompanied Robb south to go to war.


Roderik Cassel

The castellan at Winterfell, Roderik has been escorting Lady Catelyn, first to King's Landing, then to the Eyrie. He has now met up with Robb Stark's army.


Jory Cassel

Winterfell's Master of Arms, and son of Roderik, he has been Ned's main bodyguard in his stay at King's Landing. Jory was recently murdered by Jaime Lannister.


Lysa Arryn

Catelyn Stark's sister and Jon Arryn's widow, Lysa now rules the Vale of Arryn, the mountainous kingdom to the east, and sits in its castle, known as the Eyrie. Lysa is in fact younger than Cat, though she looks a fair bit older. She was wed to Jon Arryn by her father Hoster Tully, even though Arryn was older than Lysa's parents. She has one son with Jon, Robin. Robin is a sickly child, prone to fits when he gets emotional, and he is also several years behind in mental development. There is a strong suspicion this is at least partly to do with Lysa's obsessive, deranged mollycoddling.

Recently put Tyrion Lannister in one of the Eyrie's open-sided 'sky cells' to await trial. Sadly for Lysa - who holds Tyrion partly responsible for her husband's murder - Tyrion won his freedom.

Lysa is refusing to help her sister in the war against the Lannisters, stating that her armies must remain in the vale to protect her retarded son.


Osha

A wildling from the lands beyond the Wall, Osha escaped over the Wall to head south. On their way, her group came across Bran Stark and tried to ambush him. All the wildlings were killed by Theon and Robb, apart from Osha, who has been taken back to Winterfell after pleading for mercy.

Recently had a run-in with Theon Greyjoy, but Maester Luwin intervened. She told Luwin that her group had fled the land beyond the Wall to escape from the White Walkers, who have risen again after thousands of years of slumber.

Osha met with Bran in the godswood, and after briefly marvelling at Hodor's giant member, told Bran that all the armies are marching the wrong way: they should be going north, to protect the wall from what is coming...


Hodor

Hodor is a simple minded stable boy at Winterfell. He is over 7 feet tall and has a scarily large penis, which he tragically cannot put to good use on account of him being too dim. Hodor cannot talk, instead only ever uttering the word 'Hodor', with varying tones that convey mood and meaning.

Hodor often looks after Bran Stark since his accident, carrying him around in a basket on his back.


MEN OF THE NIGHT'S WATCH

Jon Snow

Ned Stark's bastard son, who was conceived during the time of Robert's Rebellion, about 18 years ago. He does not know the identity of his mother, and Ned has always refused to discuss it with him. He has a good relationship with the Starks, save for Catelyn, and is particularly close to Arya.

Recently acquired an albino runt direwolf pup, which he has named Ghost (a direwolf looks like a wolf but is much larger. The Stark direwolves are the first seen south of the Wall in hundreds of years). Jon then went north to the Wall with a view to becoming a sworn brother of the Night's Watch, like his uncle Benjen. Since arriving he has been excelling in combat exercises and making jealous enemies of the other recruits in the process. Tyrion told Jon that he should realise that he is only better than them because the others have had no training, and since then Jon has been trying to help them improve. Has taken Samwell Tarly under his wing.

After graduating, Jon was bitterly disappointed to be assigned as a steward instead of a ranger. It seemed this was an act bitterness from Alliser Thorne. After Maester Aemon told Jon he would be the Old Bear's personal steward, Sam convinced Jon that it was a privilege, and they took their vows together under a heart tree. As they were getting ready to leave, Ghost came back from his hunt carrying a dismembered hand.

After finding the bodies that the hand belonged to, Jon and Sam bring them back to Castle Black, where Lord Commander Mormont recognises them as members of Benjen Stark's missing party. Later, after being informed of King Robert's death and his father's imprisonment, Jon is warned by Mormont not to do anything stupid, and is reminded where his loyalties lie now. As he is preparing a meal Jon is antagonised by Alliser Thorne, who calls Jon a "traitor's bastard". Jon snaps and tries to attack Thorne. Lord Commander Mormont sees this and confines Jon to his quarters. That night Ghost is going batshit so a suspicious Jon lets him out. Ghost runs over to Mormont's quarters, trying desperately to get inside. Jon enters and is attacked by the corpse of one of Benjen's men, who has risen again as a wight. Jon stabs the wight but it does not die, and after Mormont investigates the commotion, Jon manages to kill it by throwing Mormont's lantern at it, setting it on fire. The next day they burn the remaining corpses.

For his bravery, the Lord Commander presents Jon with a fine bastard sword named Longclaw, made from rare Valyrian steel, and explains that it was a family heirloom meant for his son Jorah. Jon's day is ruined though when Sam informs him that Robb is marching to war. His loyalties in question, Jon is summoned by Maester Aemon. Aemon tells him that all men of the Watch go through similar situations, revealing himself to be Aemon Targaryen, Dany's granduncle. He tells Jon that he remained at the Wall while his family was butchered in Robert's Rebellion. Aemon tells Jon that he must make his own choice.

After learning of his father's death, Jon rides off in the night. Sam and his other friends chase him down, though, and convince him to return to Castle Black. Jon is now riding beyond the Wall on an expedition led by Lord Commander Mormont, in order to look for Benjen Stark and find out the cause for the wights.


Samwell Tarly

New recruit to the Watch. Unlike most of the recruits, he comes from a highborn family. His lord father sent him to the Wall, as he despises Sam for being fat and cowardly, and does not want him as his heir. Predictably, Sam was picked on by Alliser Thorne, but Jon is trying to protect him as best he can.

Sam has been assigned to be Maester Aemon's steward, and he took his vows with Jon after persuading Jon that there is no shame in being a steward. After taking their vows they discover the bodies of some of Benjen Stark's party.

After bringing the bodies back to Castle Black with Jon, Sam remarks that the bodies do not seem to have rotted and do not smell, and a suspicious Lord Commander Mormont says he wants Maester Aemon to examine them. After one of the bodies rises from the dead and attacks Jon and Mormont, Sam informs Jon that he found a book saying that corpses touched by the White Walkers rise again from the dead and can only be killed with fire.

Sam is now riding beyond the Wall with a large force from Castle Black.


Lord Commander Mormont

'The Old Bear' is the leader of the Night's Watch. He is originally from Bear Island, and Ser Jorah Mormont -- Daenerys' Targaryen's companion -- is his exiled and disowned son.

Recently took Jon Snow on as his personal steward.

Mormont was recently attacked by a wight, and was saved by Jon Snow, who burned it with his lantern. In honour of Jon's valour, Mormont gave him the bastard sword Longclaw, his family heirloom.

Mormont is leading the men from Castle Black beyond the Wall.


Ser Alliser Thorne

Bullying twat who is one of the few knights in the modern day Watch, and is responsible for combat training of all new recruits. Has taken a dislike to Jon Snow for his highborn upbringing.

Thorne recently taunted Jon about his father's imprisonment, successfully provoking him into a violent reaction.

Thorne has been sent to King's Landing by the Old Bear, to show the wight's severed hand to King Joffrey in an effort to get the Iron Throne to lend its support to the Watch.


Benjen Stark

Benjen is Eddard Stark's younger brother, and is the Watch's chief ranger. He recently took a party beyond the Wall to search for Waymar Royce's missing party (these are the guys killed by the white walkers at the start of episode 1). Benjen has not yet returned, however.

Benjen's horse recently returned to Castle Black, minus Benjen, and the bodies of his party were found, only to rise from the dead as wights.


Maester Aemon Targaryen

Aemon is the Maester at Castle Black, the main outpost on the Wall. He is over 100 years old and is virtually blind.

Maester Aemon has taken on Sam Tarly as his personal steward.

Aemon revealed his true identity to Jon Snow: he is Aemon Targaryen, the uncle of the mad king Aerys, and granduncle to Daenerys.


THE BARATHEONS & LANNISTERS

King Robert Baratheon

After Prince Rhaegar kidnapped Ned's sister Lyanna, King Aerys killed many of the protesting northmen, including Ned's father and older brother. After Aerys ordered that Jon Arryn turn over Ned and Robert to be killed as well, Arryn refused and turned on the Targaryens. Ned and Robert joined him, and this started the war for the throne which was eventually won. Robert became King and appointed Arryn as his Hand. He was originally betrothed to Ned's sister, Lyanna, but she died after her kidnap by Rhaegar. Instead he married Cersei Lannister. They have three children - Joffrey, Tommen, and Myrcella.

Recently went north to ask Ned Stark to be his new Hand, following the death of Jon Arryn. He is now back in King's Landing after Ned accepted, fucking everything with a pulse. Has arranged a lavish tournament in Ned's honour, even though Ned wants nothing to do with it.

After telling Ned that he bloody well can't quit as Hand or else, Robert has now gone hunting with Renly, his squire Lancel Lannister, and Ser Barristan Selmy of the Kingsguard.

After being given copious amounts of wine by his shifty Lannister squire, Lancel, Robert was mortally wounded fighting a boar. After reading his will to Eddard Stark, leaving the kingdom in his care, Robert died.


Jon Arynn

Former Hand of King Robert and Lord of the Eyrie, a mountainous region to the east. Recently died of fever in mysterious circumstances. His widow, Lysa, sent her sister Catelyn Stark a letter telling her that Arynn was murdered by the Lannisters. Raised Robert and Ned as his wards when they were children.


Queen Cersei (pronounced Sur-say) Lannister

Daughter of Lord Tywin Lannister, the former Hand of King Aerys Targaryen. Tywin offered her hand to Robert to further prove his House's dedication to the new king. She has a twin brother, Jaime, and a younger brother, Tyrion. Her mother died giving birth to Tyrion. Her relationship with her younger brother is not very good, to say the least, though it is still probably better than the one with her husband.

Recently discovered by Bran Stark to be having an incestuous relationship with her twin brother. Jaime then tried to kill Bran to protect the secret, which angered Cersei, who felt they could have simply scared him into silence.

After Eddard Stark revealed to her that he knew her children were Jaime's, Cersei refused to leave King's Landing. She has instructed the guards to kill Ned's men and place him under arrest.

Cersei has imprisoned Eddard Stark and taken Sansa captive. She also dismissed Barristan Selmy as Lord Commander of the Kingsguard and replaced him with her brother Jaime, and appointed her father as Hand of the King.

Cersei's wish is for Eddard to be sent to the Wall, knowing that it is a far better political move than to kill him, as it would likely prevent all out war. To her horror, Joffrey defies her and has Ned beheaded.

In Jaime's absence Cersei has been secretly warming her bed with their cousin Lancel (Robert's squire who gave him the drugged wine).


Ser Jaime (pronounced Jamie) Lannister

Twin brother and fuck buddy to Cersei. Unlike his sister, he has a good relationship with his younger brother Tyrion. Jaime is a Knight of the Kingsguard, the king's sworn bodyguards. However he is infamous throughout the land as 'The Kingslayer', as it was he who killed King Aerys Targaryen during Robert's Rebellion, despite being his sworn protector. He has a strained relationship with Ned Stark, as Ned found this and other incidents of Lannister conduct during the battle to be distasteful and dishonourable.

Recently shoved Bran Stark from a window so that he couldn't tell anyone Jaime had been shagging his own twin. Now back in King's Landing, he recklessly attacked Ned Stark's men in revenge for Catelyn's kidnap of Tyrion, and has fled the city.

Jaime met up with his father, Tywin, at a Lannister encampment. He has been granted a huge host to attack Riverrun, the home of Catelyn Stark, in revenge for her kidnap of Tyrion.

While away at war, Jaime has been elevated to Lord Commander of the Kingsguard by his sister, the queen regent.

Jaime's forces fell victim to a surprise attack from the northmen, and Jaime has been captured by Robb Stark. He is being held prisoner, with a view to trading him for Sansa and Arya.


Tyrion Lannister

Younger brother to Jaime and Cersei. A clever and cunning man, Tyrion was born a dwarf and is nicknamed throughout the land as 'The Imp'. He has a keen taste for the finer things in life - food, alcohol, and whores. His mother died birthing him. He has always had a poor relationship with his cruel sister Cersei, but gets on well with his brother Jaime.

Recently went north to The Wall with Benjen Stark and Jon Snow. Unlike them though, Tyrion was merely on a sightseeing trip and is now returning to King's Landing. Before he left, Lord Commander Mormont and Maester Aemon pleaded with him to send more men to the Watch, as they are badly under strength.

On his way back he stopped off at Winterfell to give a gift to Bran Stark: plans for a custom-built saddle so that he can ride a horse despite his disability. Even so, Tyrion was met with a frosty welcome from Robb Stark. On the Kingsroad south, in the riverlands, he stumbled across Catelyn in an inn. She hastily called upon her father's bannermen present in the inn to arrest Tyrion for Bran's attempted murder.

After being taken to the Eyrie to face trial, and placed in a 'sky cell' by Catelyn's deranged sister, Lysa Arryn, Tyrion demanded a trial by combat. Bronn put himself forward as Tyrion's champion, and won, thus granting the Imp his freedom.

Making their way back through the Vale, Bronn and Tyrion are set upon by mountain clansmen. Tyrion persuades them not to kill him, and with the promise of gold and weapons, the clansmen escort them to his father's encampment.

No doubt expecting his hated son to die in battle, Tywin informs Tyrion that he and his clansmen will be fighting in the vanguard of the army. After spending the night with Shae, a whore found by Bronn at Tyrion's request, Tyrion and Bronn go into battle against the northmen. However Tyrion is trampled by the onrushing clansmen, and is knocked out, missing the entire fight.

Tyrion is being sent to King's Landing by Lord Tywin, to act as Joffrey's Hand and bring him to heel. He intends to take Shae with him, against his father's wishes.


King Joffrey Baratheon

Horrid, sadistic little gobshite who is first in line to Robert's throne and is officially the oddest-looking boy ever.

Recently betrothed to Sansa Stark at Robert's suggestion. They will wed as soon as Sansa gets her first period. He was also recently attacked by Arya Stark's direwolf, Nymeria, after he got into a scuffle with Arya. He admitted to his mother that he does not want to marry Sansa, but has since been nice to her again. One suspects it may not last.

After the death of Robert, Joffrey has claimed the throne, Ned Stark's attempts to remove him from the line of succession having proved unsuccessful.

After hearing her pleas for mercy, Joffrey tells Sansa that he will not execute her father so long as he publicly admits his crimes and swears fealty to him as the true king. Ned does as he asks, but the spiteful king orders Ned executed anyway, against the wishes of his mother, his Council, and his wife-to-be.

As if killing her father for lols was not enough, Joffrey has started a campaign of violent bullying against Sansa.


Lord Tywin Lannister

The Warden of the West is a hard, powerful, rich man, whose seat is at Casterly Rock, to the west. Tywin loves his twins, Cersei and Jaime (particularly Jaime), but despises his son Tyrion, partly for being embarrassingly deformed, partly because Tywin blames Tyrion for causing his wife's death during his birth, and partly because he finds Tyrion's taste for whores shameful.

Lord Tywin was Hand to Aerys Targaryen for many years, until the king's descent into madness caused several bitter disputes. After Aerys refused to marry Prince Rhaegar to Cersei, and appointed Jaime to his Kingsguard without Tywin's knowledge, Tywin resigned as Hand and returned to Casterly Rock. There he waited as Robert's Rebellion escalated, only deciding to take Robert's side in the war after Robert won the decisive Battle of the Trident.

Tywin was recently summoned to King's Landing by Eddard Stark, to answer for the crimes of his knight and bannerman, Ser Gregor Clegane. He has not responded. After his son Jaime turned up at his camp, Tywin chastised him for starting the grief with the Starks. Nevertheless he believes a war will be a good thing for the Lannisters, and has granted Jaime half his forces to attack Riverrun.

While away at war, Tywin has been appointed Hand of the King yet again. While Jaime's forces march to Riverrun, Tywin is currently camped near the Trident, waiting to see what Robb Stark does next.

Tywin is surprised by an attack on his camp by the northmen, who have stolen a march on him. Tywin is victorious but, seeing that the vast portion of the Stark host is absent, knows he has been outsmarted.

Tywin is furious at Joffrey's decision to behead Eddard Stark, knowing that releasing him would have placated Robb Stark and prevented all out war, as well as secured the release of Jaime. As a result, he sends Tyrion to King's Landing to rule as acting Hand of the King.


Sandor 'The Hound' Clegane

Known as 'The Hound' or sometimes just 'Dog'. The Hound is Prince Joff's bodyguard. Half his face is covered in burn scars after his elder brother Gregor pushed his face into a fire.

Recently killed Mycah the butcher's boy at Joffrey's behest, following a scuffle. He also had a fight with his brother at the Hand's tourney, after Gregor tried to kill Ser Loras Tyrell.

The Hound is trying to save Sansa from the worst of Joffrey's bullying by getting her to obey him without question.


Varys

Eunuch informant at King's Landing who boasts of having 'spiders' all over the world who feed him information. Varys generally knows everything that is going on with everyone, and over the years has become very adept at making everyone believe he is on their side, feeding them all enough information to keep him alive. He was originally in the employment of Aerys Targaryen but was reprieved and retained when Robert took up the throne.

Recently informed Littlefinger that Catelyn Stark was on her way to King's Landing, despite Cat's journey being a closely-guarded secret. He also told Ned Stark that Jon Arryn may have been poisoned. Varys was also caught in secret conversation with Magister Illyrio, though he does not know he was seen by her, and it seems that Littlefinger is also aware of Illyrio's visit to King's Landing.

Varys went to see Ned Stark in his dungeon, and informed him that Sansa had been taken captive and Arya had fled. He also told him that Tyrion had been set free. Confident that he had negotiated a way for Ned to be sent to the Wall rather than be killed, thus potentially avoiding war in Westeros, Varys was horrified to see Joffrey order Ned beheaded.


Petyr 'Littlefinger' Baelish

Littlefinger is the 'Master of Coin' at King's Landing and is responsible for the Crown's budgeting. A slippery and cocksure character, Littlefinger is a childhood friend of Catelyn Stark and it is said he loved her in his youth. Indeed he once took a beating from her original betrothed, Brandon Stark, after he challenged him to a fight for Cat's hand.

Recently helped Catelyn take hiding at a King's Landing brothel after Varys informed him of her impending 'secret' arrival. After the seeing the dagger that was used to try and kill Bran Stark, he admitted it had once been his until he lost it in a bet with Tyrion Lannister.

After promising Ned Stark that he would ensure the city watch were on his side, Littlefinger turned on Ned, leading to his arrest for treason.


Renly Baratheon

Renly is Robert's youngest brother. He is flamboyant and funny, and is popular with most people he meets, as well as the common folk. He is secretly gay and having a relationship with Ser Loras Tyrell.

Recently talked with Loras about making a play for the throne when Robert dies. This is despite the fact that Robert's sons Joffrey and Tommen, and Renly's elder brother Stannis are all in line before him.

Renly pleaded with Ned Stark to form an alliance and place the Lannisters under arrest so that he could take up the throne. Ned told him that the throne should pass to Stannis, the elder brother. Renly told Ned he was a fool as he knows full well that Stannis would be a terrible king, but Ned was not persuaded. Sensing trouble brewing, Renly and Loras fled King's Landing for Highgarden.


Grand Maester Pycelle

The maesters are scholars trained at a place called the Citadel. Their chains are links of different metals and represent the areas of study and accomplishment, not unlike scout's badges.

Pycelle recently gave Ned Stark a book on the history of Westeros' noble families, with descriptions of the lords and their children. Jon Arryn had been reading the book shortly before he died.

After Ned Stark's arrest, Pycelle seems determined to convince Cersei that she should show no mercy to the 'traitor', nor to his family.


Bronn

A sellsword who decided to tag along with Catelyn Stark with a promise of gold for getting Tyrion Lannister to trial safely. He has since shown extreme prowess with a blade after they were attacked on the road, and - much to Catelyn's displeasure - Bronn seems to have struck up a rapport with the Imp.

Bronn recently fought for Tyrion in his trial by combat, and his rope-a-dope tactics were successful, winning Tyrion's freedom. The good news for Bronn is that he will be handsomely rewarded, since 'A Lannister always pays his debts'. The bad news is that him and Tyrion have to try and get back to King's Landing on their own, negotiating the dangerous tribe-infested roads from the Vale of Arryn.

After meeting up with Lord Tywin's camp, Bronn and Tyrion go into battle against a small host of northmen, and emerge alive and victorious.

Bronn will soon be off to King's Landing with Tyrion.


Ser Barristan Selmy

Ser Barristan is one of the finest knights who ever lived, and once famously unseated Prince Rhaegar Targaryen in the final of the Storm's End joust. He served as a knight of the Kingsguard under Mad Aerys Targaryen, and was injured during the decisive Battle of the Trident. After the Lannisters betrayed the Targaryens and Robert Baratheon took up the iron throne, Barristan received a royal pardon and became Lord Commander of Robert's Kingsguard.

Barristan was recently relieved of his duties by Cersei Lannister, ostensibly for failing to protect Robert on his hunting trip. The truth is that it was a political move by the Lannisters, which allowed Ser Jaime to be elevated to Lord Commander of Joffrey's Kingsguard. Barristan has since left King's Landing in disgust, refusing Cersei's offer of a retirement gift.


Ser Gregor Clegane

One of Tywin Lannister's knights, 'The Mountain That Rides' is nearly 8 feet tall and wields an enormous broadsword that most men would struggle to lift, let alone fight with.

The Mountain recently got mightily pissed off with Ser Loras Tyrell, after Tyrell rode a mare in season during their joust final, which sent Gregor's stallion into a frenzy and caused him to be knocked off. Gregor, like the reasonable guy that he is, responded by hacking off his horse's head and then tried to murder Loras. He was stopped by his brother The Hound, and they fought until Robert ordered them to stop.

It seems that since leaving King's Landing, the Mountain has been raping and pillaging in the riverlands. In response to the complaints of the king's commonfolk, Eddard Stark stripped him of titles and lands and sent Beric Dondarion to retrieve him to face justice.


Ser Loras Tyrell

'The Knight of Flowers' hails from Highgarden, to the south, and is part of the wealthy and powerful Tyrell family. He is a famed knight despite his young age, and is very popular with the ladies.

Recently triumphed in the joust in the Hand's tourney, unseating Gregor Clegane in the final. He has also been indulging in some secret lovin' with Renly Baratheon, who he thinks should try and make a play for king after his brother is gone.

Loras has fled King's Landing with Renly, and they have set out for Highgarden.


THE TARGARYENS

Prince Viserys Targaryen

Slightly whacko cockbag who is the rightful heir to the Iron Throne. His father, mad Aerys the dragon king, was usurped by Robert Baratheon and his supporters. His elder brother Rhaegar was killed by Robert in battle. Viserys was smuggled away with his pregnant mother once it became clear that the Targaryens were likely to lose the war. In hiding, his mother gave birth to a daughter, Daenerys, but died herself in childbirth. The boy and baby were then smuggled across the Narrow Sea by loyal Targaryen men to the continent of Essos, where they have lived in exile for fifteen years.

Recently wed his sister to a Dothraki khal (a tribe leader) so that he might get an army in return and reclaim his throne from Robert. He then got into trouble with some Dothraki for being a dickwad, and was forced to walk behind their horses. He has now earned Daenerys' wrath for being a twat one too many times.

Unfortunately, Viserys got a bit jealous about Dany's popularity with the Dothraki and tried to steal her eggs to use as currency, but was stopped by Ser Jorah. Later, Viserys turned up to Drogo's party drunk, aggressive, and armed, which is illegal in the city of Vaes Dothrak. He threatened to take Dany back and kill her baby unless he got the crown he was promised. He got his crown alright, but probably not quite as he wanted...


Princess Daenerys Targaryen

Viserys' hot fifteen-year-old sister. Dany has always been terrified of her unhinged brother, and has been too weak to stand up for herself against him. She never knew her parents or eldest brother, however, so Viserys is the only family she has ever had.

Recently got married off to Khal Drogo, becoming his khaleesi, and had the mother of all hymen breakages from Drogo's fearful horselord schlong. Decided she was fed up of getting boned senseless in tears every night, and asked her handmaiden to teach her some new tricks to make their sex a tad more loving. She is now pregnant with Drogo's child, which she thinks is a boy. Is now finally standing up to her brother's bullying.

After eating an entire raw horse heart as part of a Dothraki ceremony, thus making Drogo very proud indeed, Dany was cheered by her new people, earning Viserys' jealousy and ire in the process. Later, Dany stood by and watched as her husband killed her brother after he threatened her. She finally realises that despite his bullying, he was weak, stupid, mad and cruel, and that she should be the true Targaryen heir.

After being saved from an assassination attempt by Ser Jorah, Dany was most chuffed to find out that Drogo has decided to become the first Dothraki khal to cross the narrow sea, in order to claim back the throne for their son. I don't quite know how she felt about the bit in his speech where he said he would "rape their women", though. Presumably she's ok with that.

After seeing Drogo's bloodriders raping and pillaging on the road to the sea, Dany commands Jorah to stop them. One bloodrider takes offence and snitches her out to Drogo. After hearing their stories, Drogo sides with his wife. This angers the bloodrider, who challenges Drogo to a fight and is promptly killed. One of the villagers saved by Dany, Mirris Maz Duur, offers to tend to Drogo's wound sustained in the fight.

His wound festering, Drogo goes downhill rapidly. Daenerys orders Mirri Maz Duur to heal him. This is against the wishes of Drogo's bloodriders, who want the witch killed. Mirri informs Dany that she knows a dark blood magic spell that may work, but warn her of the risks, saying "Only death can pay for life". As Mirri exiles everyone from the tent to perform the ritual, one bloodrider, Qotho, becomes angry and demands the dark spell is ended. He shoves Dany to the ground but is stopped by Ser Jorah. Dany goes into premature labour, and, as terrible inhuman sounds comes from within, is carried into the tent by Jorah.

Days later, Daenerys wakes to find Jorah by her side. Jorah tells her that baby Rhaego was stillborn, and horribly deformed. Mirri Maz Duur says it was because of her spell: Rhaego's death paid for Drogo's life. When Daenerys finds Drogo, though, he is completely unresponsive, and his mighty khalasar has dissipated. Later, Dany bathes Drogo and tries to arouse him in a final effort to bring him back from his vegetative state, but it does not work, and so to be merciful, she smothers him with a pillow.

That night, a funeral pyre is built for Drogo. On it is placed his body, that of his horse, and Mirri Maz Duur. Jorah pleads with Dany not to burn her dragon eggs, as they are worth a fortune even in their fossilised state. She ignores him though, and sets fire to the pyre with the eggs on top. Dany then walks into the flames herself, apparently to end her own life.

Hours later, when the fire has burnt out, Jorah investigates the embers, and is startled to find Dany alive, unharmed, and with a green dragon whelp at her breast, a cream one around her leg, and a black one perched on her shoulder. Jorah and the remaining Dothraki pledge their allegiance to Dany as their khaleesi, mother of the only known dragons in the world.


Khal Drogo

The most feared of all Dothraki khals, Drogo is undefeated in battle and commands a huge khalasar (tribe).

Recently married Dany Targaryen and was a bit rough with her in the sack. Lately is showing signs of tenderness, however, and has managed to get her up the duff.

After Viserys came armed into Drogo's party and threatened Dany and her baby, Drogo quite reasonably responded by killing him with a cauldron of molten metal.

After initially being typically against the idea of crossing the big bad scary sea to get Dany's throne back, Drogo has now changed his mind, having been provoked into action after Robert's assassination attempt on his wife failed.

Drogo killed one of his bloodriders in a fight after the guy accused Drogo of being pussy whipped. Drogo got a nasty scratch on his pec and reluctantly agreed to let one of the captured villagers, Mirri Maz Duur, tend to his wound to prevent infection.

After Drogo's wound becomes infected, his condition deteriorates and he becomes delirious. It seems he is going to die, but his wife orders Mirri Maz Duur to perform a dark spell in order to save his life.

Drogo's life is saved, but he is vegetative and shows no signs of recognising anyone around him. Dany puts him out of his misery by smothering him with a pillow.


Ser Jorah Mormont

Exiled knight from Bear Island, in northern Westeros. He fled after Ned Stark intended to execute him for trading in slaves, a practice outlawed in Westeros. The Lord Commander of the Night's Watch, Jeoh Mormont aka 'The Old Bear', is his father.

He has been taken into service by Viserys Targaryen, though seems closer to Princess Daenerys. He mysteriously left the Dothraki camp for a nearby city when he found out about Dany's pregnancy, but has now returned. It turned out that the reason he left was to relay information back to the Seven Kingdoms of Westeros, as he is spying on the Targaryens for Lord Varys. He is doing this in hope of earning a reprieve so that he may go home.

Recently prevented Viserys stealing Dany's dragon eggs, cementing the fact that his loyalties lie with her.

Jorah received a letter from King's Landing, granting him a full pardon. However, knowing that his actions would probably result in Dany being murdered, Jorah had a change of heart, and saved her from her would-be assassin.

After one of Drogo's bloodriders tries to forcefully end Mirri Maz Duur's ritual, Jorah fights and kills him. Afterwards Dany is going into labour and, seeking her skills as a midwife, he carries Dany into Mirri's tent.

After Dany emerges from Drogo's funeral pyre with a host of dragon whelps, a stunned Jorah pledges his allegiance to her.


Magister Illyrio Mopatis

A wealthy trader and dealer from the city of Pentos. He is helping the Targaryens reclaim the Iron Throne of Westeros with a view to being handsomely rewarded when they come into power.

Recently set up the wedding between Drogo and Daenerys, and gave Dany a gift of three fossilised dragons' eggs as wedding presents (dragons are extinct so they are very valuable, even in their fossilised state).

Illyrio was recently spotted by Arya Stark in the dungeons at King's Landing, though Arya did not know him, nor the man he was talking to: Lord Varys. They were conversing about an impending war between the Lannisters and the Starks, and the time not being right for the Targaryens to try and claim back their throne.

Essential Killing - http://www.imdb.com/title/tt1561768/

A thriller centered on a political prisoner who attempts his escape.

Jerzy Skolimowski is far from a household name, his films are not easy to get hold of and the few that are available normally suffer from poor transfers. However, this is about to change with a recent Skolimowski retrospective seemingly down to this, his latest film. Whilst I will review that film in a second I would just like to say thank you to the people involved in bringing his older films back to the public and I can’t wait to see the BFI restoration job of arguably his finest film, Deep End.

Preamble out of the way, is Essential Killing any good? The answer is yes, but with a few reservations. The film is about a member of the Taliban who kills three US soldiers, once captured he is then tortured and rendered to Poland. Along the way he escapes and the meat of the film revolves around this nameless character (although he is finally given a name during the credits) avoiding re-capture and desperately trying to survive. Unsurprisingly the film is not an easy watch, the protagonist is put through increasing hardships that few could endure and the turmoil and pain is brilliantly conveyed by Vincent Gallo, despite him never uttering a single line of dialogue.

The film does a good job of creating sympathy for the man's plight but not sympathy for the man himself. His reasons for the murder at the beginning of the film are kept vague, this is not a film necessarily interested in picking sides or delving into the politics of this ideological conflict. However, this insistence to not engage in the issue comes at a price because it is such a hot topic that the audience already have their own preconceptions about the rights and wrongs on both sides. If Skolimowski really wanted the film to remain apolitical the story could have easily been transported to an unidentified time and nameless conflict and it may well have better served the core themes of the story.

Visually the film is a triumph, capturing the beauty and harshness of a snow covered wilderness and capturing the visceral desire to survive. The film is not about the triumph of the human spirit, there is never going to be a conclusion that will bring release for either the audience or protagonist, but we do see what man is capable of in the most extreme conditions and it is not always pleasant viewing. Gallo is brilliant, Skolimowski's direction is efficient and effective and the film manages to maintain tension without resorting to cheap thriller tricks.

Never Let Me Go - http://www.imdb.com/title/tt1334260/
As children, Ruth, Kathy and Tommy, spend their childhood at a seemingly idyllic English boarding school. As they grow into young adults, they find that they have to come to terms with the strength of the love they feel for each other, while preparing themselves for the haunting reality that awaits them.
There is still much to appreciate from this adaptation. All the performances are very strong from the main cast to small supporting roles (Andre Riseborough is in the film for about ten minutes but is excellent in her tiny but crucial role), the casting director has managed to find child actors that look and act like their older selves especially in the case of Cathy H who looks exactly like you would expect Carey Mulligan to have looked at her age. Mulligan is the definite star in the film though, she has a real magnetic presence on screen but is a 'quiet' and effortless actress. She really reminds me of a young Emily Watson and I really hope she chooses her career choices wisely. The direction is good too, it isn't flashy but complements the story nicely and it certainly looks how I imagined the world to look when I read the book.
Unfortunately the script is where things begin to unravel. It is not a book that naturally lends itself to film but Garland could have done a better job than this. It lacks subtlety and finesse and is far too blunt with the sci-fi elements of the story. Condensing it to under two hours is always going to be tough but it is too well sign posted to be truly effective. If the film didn't have Mulligan and Garfield in the key roles the end would have been emotionally flat. I guess this isn't too surprising though, I have always felt Garland is good at coming up with ideas but his execution often lets him down. Thankfully though the cast and the beautiful direction from Mark Romanek manage to pull you through these issues and still deliver an emotional ending. There is a Belgian film from a few years ago called Innocence that I would recommend if you wanted a more ambiguous and interesting film set in a boarding school.

Source Code - http://www.imdb.com/title/tt0945513/

An action thriller centered on a soldier who wakes up in the body of an unknown man and discovers he's part of a mission to find the bomber of a Chicago commuter train.

This is a film of many contradictions. The thriller element of the story is unrelenting, exciting and always pulls the story forward but you'll guess whodunnit almost immediately. The majority of the characters are little more than crudely sketched stereotypes yet you care and root for the important ones in the story. Finally, the romantic angle is impossible to truly develop because of the constraints of the concept yet it works by becoming the heart of the film. Most of the time contradictions in film are a weakness and a flaw yet here they add greatly to the experience.

If this film had been made in the '90s it would have starred Keanu Reeves and involved considerable re-writes so the thriller aspect of the story became the sole point of the narrative. The end result would have still been engaging but significantly weaker because of it. The story needed an actor of the calibre of Jake Gyllenhaal for it to work. He has been in an awful lot of rubbish but he manages to straddle the line between action star and credible actor very well. He is the heart of the film and without his performance (arguably his best yet) the finished product could have been very different. Despite the ticking clock thriller component being the thing that will get audiences into the theatre it is the emotional journey that will keep people sitting there. The bomb plot itself is handled well, returning to the same eight minutes provides the layers and momentum needed for you to care about the plight of Colter Stevens and the girl he keeps trying to save. Yet for all the twists and turns the villain of the piece is both obvious and, more importantly, redundant to the story. The script and Duncan Jones manage some great misdirection to allow the emotional journey and romantic possibility to creep up on you rather than clumsily throw it in just so an action film has something for the ladies too. It is not so much that the character revelations will come as a surprise but that when they do come they work so well. Above all it is a character driven story masquerading as something that is plot driven.

Jones does a good job breathing life and energy into a set-up that could have been very static. The film only really contains two locations - train and source code machine - and despite being billed as an action/sci-fi film, genuine action is surprisingly absent from the screen. Yet Jones keeps things always moving forward, there is never a moment where it sags and it pleasing to see him have enough faith in his actors and script to maintain an audience's interest rather than throw visual tricks at the screen every five seconds like Tony Scott inevitably would have. Gyllenhaal is ably supported by both Farmiga (transcending her duty vs morals story function) and Monaghan who has the hardest job of all by needing to be an engaging romantic foil yet only ever existing within the same eight minutes (so no real backstory, no revelations and continually repeating the same moments yet being convincing enough that Colter could still fall in love with her). They are pretty much the only two women in the film and provide the sense of hope, humanity and compassion that Colter's character needs. The rest of the men on the other hand are there to serve the plot and nothing more. This is fine with most of the ones on the train but it is disappointing that Jeffrey Wright's character is so one-dimensional and predictable and Wright's performance only compounds this.

The Tree of Life - http://www.imdb.com/title/tt0478304/

The story centers around a family with three boys in the 1950s. The eldest son witnesses the loss of innocence.

How do you review a film like The Tree of Life? In fact is there any point as an individuals connection to the film is so unique to that person that critical evaluation is redundant? It is certainly easy to see how this has been such a divisive film and whilst it is still swimming around in my head I'm struggling to know which side of the fence I sit. It is clear that the film can not be judged by traditional drama terms. There is little semblance of a conventional story, characters are tools for metaphor rather than believable human beings and it has such higher aspirations that it can almost overwhelm. It is also a personal story for Malick (in many ways sharing the fragmentary memories and autobiographical qualities of Tarkovsky's masterpiece, The Mirror) and, as is often the way, the more personal it is the more universal it becomes. Yet his ambitions are greater than just illustrating an eternal struggle through this1950s family. Instead he shows us creation itself and as beautiful as these scenes are (and they really are awe inspiring) to me they added little that was not already expressed through the push and pull of the family.

There is little need to dwell on the breathtaking cinematography (you really won't find a more striking film all year), the stunning score and faultless performances. Where my conflict lies with the film is its unexpected emotional distance. The central conflict the eldest brother deals with, that of grace (his mother) versus nature (his father), is universal but because Malick uses character purely as metaphor there are no grey areas to these people. Yes, the film is poetic and you can project yourself onto the family but the broadness also kept me from emotionally connecting to them or the events. Even when viewed through the rose-tinted memories of her son the mother is too perfect, too much of a thematic device to feel anything towards and all but the eldest son suffer similar fates. I can see why this film was an almost transcendental experience for some, and I wish I was able to go with the film and experience it too, but I was constantly aware of Malick's guiding hand. The climax in particular felt like he was pushing the profundity of the film on me. It is a beautifully edited sequence but heavy handed and lacking the lyricism and simplicity of the films most successful moments.

Senna - http://www.imdb.com/title/tt1424432/

A documentary on Brazilian Formula One racing driver Ayrton Senna, who won the F1 world championship three times before his death at age 34.

An affectionate and compelling documentary more interested in the driver and the myth than deconstructing the man behind the wheel. That may sound critical, and those hoping for a more rounded and impartial documentary may well be disappointed, but this was never about demystifying the man but celebrating his abilities and his place in the hearts of millions of Brazilians. The Senna-Prost rivalry was what attracted me to Formula 1 when I was a child and it is amazing how clearly I remembered many of the events that were replayed here. He may not have won the most championships but he was certainly one of, if not the, most gifted drivers and you were always expecting the impossible when he was on the race track. Through a great choice of archival footage and brilliant editing the film does a superb job of capturing this excitement and unpredictable nature to his character. If the film comes across as overly harsh towards Prost (it does) it is only because the story needs a villain and in Senna's world, at that time, he was the bad guy. The final half an hour is an incredibly powerful and moving experience which is cleverly teased throughout the film with prophetic statements from Senna. Even to this day I can't believe the race was allowed to continue after the tragic events in qualifying and watching the events unfold again it really hits home how far the sport has moved on in terms of driver safety.

The film is an exhilarating, beautifully crafted and powerful monument to one of the worlds greatest sportsmen.

Inside Job - http://www.imdb.com/title/tt1645089/

Takes a closer look at what brought about the financial meltdown.

Despite the global financial crisis dominating newspapers and TV screens for the past few years very few people still seem aware of the reasons that led to the meltdown. Whilst a two hour feature documentary is never going to be thorough or adequately cover such a complex issue Inside Job is still arguably the best documentary of its kind to date. Even when already aware of the facts it is impossible not to be shocked by how these events were allowed to happen and the ridiculous sums of money involved. Inside Job is split into easily digestible chapters documenting the birth and rise of derivatives, the causes for the explosion in risky lending and investments, the inevitable crash and its implications around the world and for the near future. Although the film manages to secure interviews with some high profile names it is a shame that many of those directly involved refused to contribute. This is, of course, unsurprising, the documentary after all was never going to be impartial when it is about such an emotive subject. However, the film does a great job of explaining a complex issue without over simplifying or sensationalising a hot topic that is still affecting most of the Western world.

Biutiful - http://www.imdb.com/title/tt1164999/

Uxbal, single father of two children, finds his life in chaos as he is forced to deal with his life in order to escape the heat of crime in underground Barcelona, to break with the love for the divorced, manic depressive, abusive mother of his children and to regain spiritual insight in his life as he is diagnosed with terminal cancer.

Rather than write a review myself you can just reread Gorf King's spot-on appraisal. This is Iñárritu's best film to date, the single viewpoint and reduction in contrivances (unfortunately not totally eradicated from his work) make this a much more emotionally engaging experience. Previously his films have come across as being too pleased with how cleverly they are constructed whilst avoiding being engaging stories in their own right (Amores Perros is perhaps the exception but even that is more flash than substance). This time around we actually get a rounded emotional experience and a character to invest in. Bardem, as he often is, is a revelation. He is a powerhouse of an actor without appearing to do too much. In the past Iñárritu has favoured histrionics in his lead performances as if feigning emotion was enough to trick an audience into believing yet here you do believe. Of course much of that is down to Bardem but for once Iñárritu deserves credit too. As with all the director's films, Biutiful looks, well, beautiful.

The film isn't perfect, there are a few less natural elements that really aren't necessary, it is probably a little on the long side and a lighter touch at times wouldn't have gone amiss, but the film is a powerful experience that will stay with you.

Kung Fu Panda 2 - http://www.imdb.com/title/tt1302011/

Po joins forces with a group of new kung-fu masters to take on an old enemy with a deadly new weapon.

The thought of Dreamworks animation department and Jack Black teaming together was the stuff of nightmares for me yet the original Kung Fu Panda ended up being one of the big surprises of 2008. Sure, it wasn't perfect by any means but it had good characters, great action and, up to that point, was easily the best thing the studio had produced (now usurped by the brilliant How to Train Your Dragon). For once I was looking forward to a Dreamworks sequel, the world created certainly had enough potential for new stories and in a summer of potentially lack lustre animated features (I'm still not sold on Cars 2) this is the sort of thing we needed and I am pleased to say it more than delivered.

Kung Fu Panda 2 takes the tried and tested sequel formula by making it bigger and darker and for once it worked. Don't worry the film isn't too dark, it is still packed full of humour and entertaining characters but the stakes are higher and there is an important sub-plot involving Po's backstory that is far more emotional and darker than anything tackled in the first film. The film is also much, much larger in scope but reassuringly they never lose sight of the characters despite this larger canvas. This increase in scale is felt most in the action set pieces which are both numerous and of a very high quality. The action in the first film was excellent, particularly the jail breakout, but here everything has been ramped up with more characters, grander locations and pitch-perfect pacing. These sequences are all thoroughly entertaining with a great ebb and flow and surprising invention. Live action directors could learn a thing or two about how to put together an exciting, tense and emotionally engaging action sequence from this film and it is all easy to follow too. In fact at times I was reminded of Genndy Tartakovsky's Samurai Jack and to be honest I can't think of any higher compliment than that.

Jack Black has been curtailed somewhat with this film, Po is still clearly Jack Black-ian but this time around he is actually endearing and funny. Because they no longer need to set up his character they can just jump straight in which means they can balance the humour and action much more successfully unlike the first film where it was more clearly divided (first half = the funny stuff, second half = the action). The result is a much more rounded experience and as such the jokes work much better. You could criticise the film by saying the Furious Five are given less character moments but I think they serve the story well and more time is needed to give Po's backstory the emotional weight required. This element is surprisingly successful, not only is it touching but it helps give the climax a much needed emotional kick too. These sequences are beautifully animated in traditional 2D, much like the credit sequence in the first film, and add pathos (although not too much) to the story as well as nicely setting up the possibility of a third film.

The animation is breathtaking in places; the first film was already beautiful but they've really outdone themselves here both in the stunning backgrounds, lighting and subtle character nuances (as well as the aforementioned 2D sequences of which there are actually two types - a Chinese style prologue and Po's flashbacks). Shen, the peacock villain, is a wonderful creation in all departments. The script has made him menacing but funny with a strong bond to Po, Gary Oldman has great fun with the vocals (basically sounding like an evil Leslie Philips) and the animators have created both a beautiful and threatening creature who is a joy to watch during the action sequences. At a mere ninety minutes this is a  film that tells a compelling story with verve and humour with none of the pointless fat that can so often blight these films. For those that didn't enjoy the original film this probably won't be for you, but those that did they should love this thoroughly entertaining sequel.

Barney's Version - http://www.imdb.com/title/tt1423894/

The picaresque and touching story of the politically incorrect, fully lived life of the impulsive, irascible and fearlessly blunt Barney Panofsky.

Although a little overlong it doesn't stop Barney's Version from being a very accomplished character piece with some fantastic performances at the heart of the story. Barney, a TV producer who has lived a full and eventful life recalls his three marriages and the (many) mistakes he has made along the way. The main appeal here are the performances and the well observed characters. At the centre is Paul Giamatti, delivering his best performance since American Splendor, as he turns a naturally unlikeable character (a womaniser, drunk and liar) into a charming and impulsive figure who is constantly trying to overcome his flaws. It is disappointing to think he wasn't even nominated for an Oscar but not all that surprising. His support is also very strong, particularly from his uncouth father played with relish by Dustin Hoffman (also delivering his best performance in years) and Rosamund Pike as the love of his life. The film is full of wonderful character moments, giving them time to breathe and for the audience to fully invest in them. Although the performances rightly get the majority of plaudits it would be for nought if the script wasn't so well judged, the direction assured (for a film that spans so many years it does a great job of concentrating on the smaller, more personal, moments) and the crucial make-up so subtle. A touching and bittersweet film deserving of more recognition.

Submarine - http://www.imdb.com/title/tt1440292/

15-year-old Oliver Tate has two objectives: To lose his virginity before his next birthday, and to extinguish the flame between his mother and an ex-lover who has resurfaced in her life.

Good British films come by so rarely these days that when one does appear it is easy to be too gushing in its appraisal. Only time will tell if this is the case here but either way Submarine is still one of the most charming and downright entertaining films of the year so far. The film follows Oliver Tate, a self-deluded but strangely likeable teenager as he tries to maintain his troubled relationship with his pyromaniac girlfriend and save his parents loveless marriage.

In story terms there is little originality to be had here as we follow a smart but socially awkward teen trying to traverse adolescence. The appeal comes in a razor sharp script, wonderful performances and a confident style. The script is full of brilliant lines and astute observations that manage to be consistently funny as well as occasionally moving. The delivery of the dialogue certainly helps. Craig Roberts as Oliver is excellent with his deadpan and self-delusional voice overs and providing a still and unfussy performance that really helps draw you in. Likewise, Jordana Bevan as Oliver's love interest is sharp and prickly but with a charm that makes her character so appealing. The adult support are afforded less development but with the likes of Sally  Hawkins and Paddy Considine in key roles you know you are in safe hands. Considine in particular has great fun as a new age self-help guru trying to sleep with Oliver's mother.

Yes, stylistically it may crib from the French New Wave and share many similarities with the films of Wes Anderson (unsurprisingly it can't avoid comparisons with Rushmore) but writer-director Richard Ayoade uses these tricks to great effect creating something that references the greats of cinema yet remains fresh and relevant to a modern audience. It is hard to criticise a film this well crafted, especially coming out of a country that seems heavily reliant on straight-to-DVD gangster films and prestige but dull costume dramas. Submarine is a joyous breath  of fresh air and one that will no doubt reward repeat viewings.

Fast Five - http://www.imdb.com/title/tt1596343/

Dominic and his crew find themselves on the wrong side of the law once again as they try to switch lanes between a ruthless drug lord and a relentless federal agent.

Well the first ten minutes of this was better than the first four films combined. This film transported me back to being a twelve year old and it had everything my twelve year old self would want: cheese in all the right places, ridiculous action and hot girls (hell, Jordana Brewster is probably the least attractive one on screen). You have to wonder why it has taken five films for them to finally deliver the goods in this way, especially after the woeful fourth film.

If I was being critical I could say it was fifteen minutes too long (or one action scene too short), that it was only a 12A and that it pretty much removes the USP of the franchise. Yet these points would be nitpicking and if truth be told a couple are almost a blessing. By not following the formula of the previous films they have freed themselves up whilst still dropping in enough nice references along the way. Likewise I'm not sure if the lower certification really hurt the film either, it still had a satisfying impact to the action (without blood of course) and the lack of bad language really wasn't that big an issue at all.

After last year where we saw a whole host of ensemble action films (both from new and old hands) this is actually the first that genuinely delivered the goods with each character given their moment to shine without muddling the central relationship. I wasn't sure about a few of the people coming back to reprise their roles but everyone of them was at the very least decent (yes, even Tyrese). The new characters were also great, I wondered if The Rock would get lost amongst the established characters but he more than holds his own. The action was inventive, kinetic and *shock horror* easy to follow. It was amazing to see an action film sparingly use slow motion and shaky cam and when it does use it it actually adds something to the film. It was also very pleasing to see good old fashioned stunt work and sparingly used CGI (or at the very least good CGI).

The story is suitably dumb but you don't really want much in a film like this, they even subvert the heist film...



Old fashioned, machismo fuelled fun for your inner-child.

Shame - http://www.imdb.com/title/tt1723811/

In New York City, Brandon's carefully cultivated private life -- which allows him to indulge his sexual addiction -- is disrupted when his sister Cissy arrives unannounced for an indefinite stay.

Sex addiction is often seen as a rather silly and trivial addiction, one that celebrities wheel out when their infidelities become public knowledge. Yet in Steve McQueen's second feature it is portrayed as potentially serious, debilitating and life destroying as drug or alcohol addiction. The film is as utterly empty as Brandon's own existence and whilst that may sound like a flaw it really isn't. McQueen puts you in his world and gets under the skin of Brandon's hollow life and ambiguous family backstory. It is odd coming out of a film where you feel so little, normally they aim to heighten emotions not numb them, but it is crucial in understanding the character and the world he inhabits for this to be the response.

As with McQueen's first film (the excellent Hunger) Shame is exquisitely photographed and shares the same use of tracking shots, long takes and arresting framing. The film even contains another single-shot conversation between two people, although it is less successful here than it was in Hunger. It is a cliché to say it but Michael Fassbender's performance is truly fearless. Ignoring the frequent, protracted and explicit sex scenes it is the emotional nakedness that is the most startling thing about the performance. The way he gradually chips away at this easy charm veneer is beautifully portrayed and it is easy to see why so much hype is surrounding him as an actor. Carey Mulligan continues to deliver great performances too, this time as Brandon's equally as messed up sister, Cissy. It is a shame her character and relationship with her brother is not afforded more screen time because it is the heart of the story and the reason why both have such destructive personalities. But McQueen is keen to keep their backstory vague and in a way it is probably for the best as it offers different interpretations and a more explicit history could well have provided a pat resolution. Whilst the film does hark back to certain films of the '70s and '80s (American Gigolo would certainly make an interesting double-bill with Shame) it still feels very much of its time whilst the city of New York is used to both reflect and hide Brandon's emotional state.

The film is certainly not for everyone; some will find it boring thanks to the drawn out pace, lack of 'plot' or resolution whilst others will find the endless sex scenes off putting and gratuitous. Yet these people would be wrong, or at least not watching the film as it is intended. It needs to be slow and plot-lite because we are experiencing Brandon's world through his eyes. Which is why the sex and the way it portrayed is so crucial too. Although it received the odd embarrassed snigger from the audience it is the least erotic and titillating consensual sex you are likely to see on screen. There is no emotion or connection between the people in front of the camera, it is merely used as that hit or release that he constantly needs in his life. Shame ends up being a numbing but wholly worthwhile experience.

Black Swan - http://www.imdb.com/title/tt0947798/

A ballet dancer wins the lead in "Swan Lake" and is perfect for the role of the delicate White Swan - Princess Odette - but slowly loses her mind as she becomes more and more like Odile the Black Swan, daughter of an evil magician.

I really liked it and it had some wonderful standout sequences but it wasn't as good as I had expected based on the script I read. Normally I would only ever read a script after seeing a film, and in many ways I wish I had done the same here, but the script fleshed out certain relationships (the one with Beth being a prime example) whilst offering more ambiguity with others (the mother-daughter relationship in the script is much better, in my opinion). What we end up with on screen is rarely like what is on the page so I feel bad for marking it down based on this but it did affect my enjoyment.

Script issues aside it is a very accomplished movie with very little fundamentally wrong with it. Aronofsky's decision to shoot it with handheld cameras worked brilliantly. The decision to use it with The Wrestler was pretty logical but I think most directors would have used Steadicams and wide angle shots when capturing ballet to accentuate the graceful quality of the medium. Yet it is the roughness and the extreme proximity to the actors that makes this a much more powerful and visceral experience. As a director he has always been good at getting great performances out of his cast and here is no different. I was surprised to read some people criticise Portman's performance as I thought she nailed the vulnerability and fragility of her character quite brilliantly. Often she can come across as a little distant as if she is thinking about the processes of acting rather than being in the moment, that one weakness is turned into a positive here though as it fits so perfectly with the character she inhabits. The role is incredibly demanding not least because she is never not on screen and for once I think her nominations at the awards has been fully deserved. It is true that Cassell and Ryder are wasted, one is little more than an exposition sound board whilst Ryder's role has been severely cut back from the script, but both are fine. I thought Mila Kunis was excellent but then again she can do no wrong in my eyes.

The final act is a preposterous and silly descent into the fracturing of a frail psyche and I loved it for its exuberant ridiculousness. I like the fact Aronofsky went all out in the end, whether it makes sense or comes across as a little hokey is immaterial to me as it just seemed to fit so neatly with the theatricality of the ballet which is all about a sense of heightened un-reality. The final half an hour is intense and unsettling (perhaps not as much as some reviews painted it out to be) and has some of the finest use of CGI I've seen in a while, both with the big scenes that are obviously special effects as well as smaller incidental moments. Clint Mansell's score probably isn't as memorable as his work on The Fountain or Moon but it works quite beautifully with the film.

Blue Valentine - http://www.imdb.com/title/tt1120985/

The film centers on a contemporary married couple, charting their evolution over a span of years by cross-cutting between time periods.

I'm not normally a fan of films that make it big at Sundance, partly because it seems every film that is shown at Sundance gets undeserved hyperbolic buzz and partly because many of those films are of the irksome quirky comedy variety. Pleasingly Blue Valentine is far from a quirky comedy and it is the first Sundance film in a long time that is genuinely good.

A lot of the publicity surrounding the film focused on the rawness of the subject matter, the two performances from Gosling and Williams and the narrative structure that flits back and forward in time. For once the structure is not just a novelty (well it kind of is but it does genuinely add something to the experience) as it plays with the audience's expectations and helps shift our sympathies from one character to the other. There are some revelations that have greater impact due to this back and forth timeline, and whilst you can probably predict the key moments if you've been paying attention the structure certainly helps.

Gosling and Williams are both sensational in their roles, Gosling is rarely sympathetic but you strangely warm to him the worse he becomes. Michelle Williams continues to excel in every new role and her performance here is raw and moving, she's come a long way since Dawson's Creek. The film has a strong improvisational style (or at least the appearance of one) and it is clear to see both the actors have had a lot of say in the directions of their characters. Unusually for this type of film (improv led, documentary style) the cinematography is quite beautiful with a wonderful use of lighting and and interesting compositions. The score by Grizzly Bear is also excellent and compliments the visuals.

The film isn't always an easy watch, the disintegration of a marriage rarely will be, but it isn't as gruelling as something like Ingmar Bergman's Scenes from a Marriage and it does have moments of levity (surprisingly not all from the scenes at the start of their relationship) which makes the experience more palatable, believable and moving when the big emotional moments do arise.

The Fighter - http://www.imdb.com/title/tt0964517/

A look at the early years of boxer "Irish" Micky Ward and his brother who helped train him before going pro in the mid 1980s.

I'm really surprised by the lukewarm response this film has received on the forum as I thought it was excellent with much of the criticism levelled at the film seeming pretty harsh.

Bale does dominate the film but that is the way Dickie was (or at least portrayed here). Micky is clearly an unassuming character who has been dragged into situations by a destructive family. Wahlberg is always going to get lost amongst these larger characters but for me his performance was fantastic for that very reason, he never tries to go toe to toe with any of them, always going for the easier option in life just as his father did. It is easy to see why Bale, Leo and Adams have been getting the nominations but without Wahlberg their performances wouldn't be half as good. I'm not normally a Bale fan, he might be able to physically transform himself but you always get the impression he is still just acting, yet here he convinced me from the opening scene and all the way to the finish. I'm probably a little bias as I even like her in really crap films but Amy Adams was great too, bringing warmth and toughness to her role (and looking hot whilst doing it).

I'm surprised the scenes with the family have come under criticism. The whole family set up is cancerous for all involved as they blindly follow a woman who knows nothing other than how to bully and manipulate and they blindly idolise a figure that is destroying everything he touches but they desperately try and cling to his eroding local celebrity status. Comparisons with soap operas and Jerry Springer seem pretty harsh to me as sadly these types of people do exist outside of Hollywood and TV. Yes, the sisters are broad caricatures but I found them highly entertaining. In fact the humour is one of the films strongest points and much of it came from the love-hate family dynamic (although nobody else in the screening was laughing so maybe it is just me).

The boxing was solid, although undone by the ill judged sound effects, but the TV camera style worked very nicely and there was a good ebb and flow to the action. But, like all the best boxing films, it isn't really about what goes on in the ring, it just provides the satisfying climax to the story. What I think the film did well was to portray boxing as both a blessing and a curse for Micky, it is the thing that kept him in his brother's shadow but was also the one thing that was going to get him out of his situation.

Tangled - http://www.imdb.com/title/tt0398286/

The magically long-haired Rapunzel has spent her entire life in a tower, but now that a runaway thief has stumbled upon her, she is about to discover the world for the first time, and who she really is.

I don't always agree with the forum when it comes to animation (Despicable Me and Legends of the Guardian being good recent examples) and I'm in (slight) disagreement once again as I loved the film. Admittedly most people have said it was solid but I thought it was a genuinely excellent movie and the first decent traditional Disney story in years (The Princess and the Frog was a huge disappointment for me). It sticks closely to the familiar Disney fairytale template, some may find it a dated formula but I still think it works very well and it is not as if this type of film is that common in cinemas anymore. It does deviate in two clear ways; the lack of talking animals and a more ambiguous villain, and both changes work a treat. The two animal characters are fantastic, full of character but not necessarily taking over the film. I know many have said they steal the show but I felt they complemented the action and the leads really well. They weren't over used unlike many comic relief characters often are. The villain was also excellent, she felt like a traditional Disney antagonist but the relationship she has with Rapunzel made her far more interesting and I thought the twisted mother-daughter dynamic was played out quite brilliantly in parts. She is the sort of bad guy that the parents and adults will react to more than the children which was an interesting direction to take.

I really liked both Flynn and Rapunzel too, they weren't too larger than life to by unsympathetic and whilst their relationship was developed in a predictable way the film still managed to achieve the right emotional response at the climax. The action was well choreographed and felt intrinsic to the story rather than a scene just thrown in to make it a bit pacier. All the jokes hit the spot and even the songs were pretty good. The film also has a moment that will rival the most famous Disney sequences in the stunning lantern scene (for once I wish I had seen it in 3D). The animation is deserving of extra praise as it is quite beautiful. I wasn't all the keen on the change in direction, and perhaps a film looking like the original test footage would have been even better, but the film we end up with is still a treat for the eyes. The lighting is some of the finest I've seen in a CGI animated feature and it is so pleasing to see the animators being trusted to tell the story and convey emotion rather than relying on dialogue cues (the King and Queen are two great characters despite them being in it for about two minutes and not having a single line).

Whilst it is true that the film can't compete with the true greats of Disney it is every bit as good or better than those they were making in the mid to late '90s and head, shoulders and a really tall hat above any of the other features made under Lasseter's tenure (Pixar films excluded).

Hanna - http://www.imdb.com/title/tt0993842/

A 16-year-old who was raised by her father to be the perfect assassin is dispatched on a mission across Europe, tracked by a ruthless intelligence agent and her operatives.

I can't be sure but I think this might be brilliant. The reason for the uncertainty is because it is very much a marmite film to the point that I think opinion may change considerably on repeat viewings. I totally understand why people won't like this and for that reason it is impossible to recommend as I would hate to get somebody's hopes up only for them to be disappointed by the end results.

It is also tricky to explain why I enjoyed it so much because I have a feeling that when I try and explain it in words I will begin to over analyse it and begin to lose the magic. It is one of the most schizophrenic summer films I've seen in many years, often a schizophrenic tone is a weakness but they go so wholeheartedly with throwing so many things into the mix that is ends up miraculously working. It is almost to the point where they have deliberately decided to go in the complete opposite direction of logical casting and story telling. In black and white that sounds like a criticism but much like the mish-mash of tones when everything is 'wrong' everything slowly starts to appear very right. Joe Wright is not an obvious choice for this film but he manages to add his trademark visual flourishes whilst still not completely losing sight of the fact this is an action film at heart. It is genuinely beautiful in places, and despite it having a number of visual styles it still fits together brilliantly.

The story at a basic level is very simple with hackneyed devices and twists everyone will see coming. They are faults that would normally annoy me but because the film has so much charm, and is also strangely subversive (for a mainstream summer movie), that they really don't matter in the grand scheme of things. It throws in fairy tale references, sometimes very explicitly and sometimes more cleverly, as well as resembling a twisted Wim Wenders road movie and coming of age drama. It shouldn't be able to juggle so many elements, and if I'm honest at times it looks like it is going to teeter over under this muddled tone, but it always manages to pull itself away from the brink. This unevenness will put people off but it certainly helps keep it interesting.

The cast are, by and large, against type but each one is perfect in their own strange way. Ronan has always been a good actress but you wouldn't necessarily say she was ideal casting for a trained killer yet she is perfectly adept at those hard hitting scenes as well as the fish out of water comedy and more emotional family moments. She is full of knowledge but totally unable to use that information in a world that is not in a book. Likewise Bana is very good as the protective father and Blanchett hams it up but is a great choice as a wicked witch figure. Tom Hollander is not only the most unusual casting but his character and circle of friends have seemingly been dropped in to the film from a completely different story. Yet, once again, they work. I'm not sure how but they do, they are comedic yet threatening and just as off-kilter as the rest of the film. The Chemical Brothers score was fantastic too, I'm not sure it will work as well without the images on screen but with the movie it gave the action sequences real energy (which was also helped by some interesting editing).

Odd, confused but utterly captivating, I'd love to recommend it but I'm not even sure I will like it next time around.

Incendies - http://www.imdb.com/title/tt1255953/

Twins journey to the Middle East to discover their family history, and fulfill their mother's last wishes.

It is hard to discuss Incendies because it is best to experience it completely blind as too much prior knowledge will undoubtedly dilute the films impact. And what an impact it can have because this is a very powerful and beautifully judged film. The performances are universally brilliant, it is expertly directed and shot and the story will stay with you long after the closing credits. It also uses the repetition of a Radiohead track to great effect. Even an over reliance on coincidence in the final third (something I normally hate) can't spoil the film.

Skip the trailer and avoid (anymore) reviews and just get it watched.

Animal Kingdom - http://www.imdb.com/title/tt1313092/

Tells the story of seventeen year-old J (Josh) as he navigates his survival amongst an explosive criminal family and the detective who thinks he can save him.

What a film!

When it seemed that the gangster genre had nowhere else to go we get A Prophet last year and now this stunning film from Australia. I had been impressed by the short films of David Michôd but nothing prepared me for how complete his feature debut would be. It is hard to pick out areas where it excels because it never really puts a foot wrong. The pacing is judged to perfection, it is slow by modern standards but every scene drips with tension that the film flies by. The cinematography is beautiful, taking cues from '80s era Mann (cool blue nights, warm orange summers and lingering tracking shots) but it never once feels like an homage and it never tries to throw in pointless Australian cultural references. The brooding score and interesting use of songs (Air Supply's All Out of Love has never sounded so ominous) really adds to a palpable and uneasy atmosphere.

I think one of the films great assets is the fact it feels both old and new. The story isn't particularly original but it feels fresh in the hands of Michôd, perhaps because the genre has been so poorly represented in the last decade but also because he is in total control of the world he has created. Often the gangster genre is glamorous but you don't ever really get that feeling here. The family are fractured and isolated whilst being kept together and systematically destroyed by Jacki Weaver's Lady Macbeth-like mother, a truly terrifying character. Her calculating is countered by Ben Mendelsohn's Pope, an unpredictable screen presence who you just can't help but watch. Between these two figures the family was never going to be able to survive. Taking James Frecheville's performance as 'J' in isolation it could appear rather flat but I think he works brilliantly as the centre of the film. He is totally out of place in any of the worlds he tries to exist in, be it as a criminal, at his girlfriend's 'normal' home or with the police, he is out of his depth and permanently alone. One of the most surprising things about the film is the fact you learn very little about any of the characters. None of them ever really talk to one another and you only ever learn about individuals through their actions rather than words. Traditionally this may be seen as a weakness but it works brilliantly in the world these characters inhabit - they may be in each others pocket all the time but they are all so isolated from one another.

I could keep going on about the film, how it is genuinely unpredictable (how often can that be said these days?), how the use of short sharp violence is brilliantly judged and how the film lingers in your mind like only the great films do. The start of 2011 has been a mini-revelation for cinema and something very special is going to have to turn up in the next nine months to top this.

Drive - http://www.imdb.com/title/tt0780504/

A Hollywood stunt performer who moonlights as a wheelman discovers that a contract has been put on him after a heist gone wrong.

It's not always easy to tell at what point you fall in love with a film, normally it just creeps up on you but on rare occasions you can pinpoint it exactly. Watching Drive that point came with the introduction of the first musical note, a mere minute into the movie. I can't explain why, it wasn't even particularly memorable looking back at it, but it was the point that I knew I was going to be Nicolas Winding Refn's bitch and I was happy wherever he wanted to lead me. Drive is very much a movies movie, a film drenched in filmic references of the past yet still feeling utterly fresh and contemporary. The comparisons with '80s era Michael Mann are inescapable (particularly Thief) in its deliberate and pitch-perfect pacing, minimal dialogue and air of undeniable cool. Yet at its heart it is perhaps closest to the George Stevens' classic Western, Shane, thankfully without the irritating child in tow. But for all the elements it cribs from other films it still stands on its own. It shares the style of Mann but is no mere imitator, the story may be markedly similar to Shane but there is an original twist to the classic tale.

Drive is a rather deceptive film. Your immediate response is to the surface details; the beautiful cinematography by Newton Thomas Sigel or the perfectly judged score and soundtrack choices. These distractions and the simple narrative can divert you away from how expertly the editing is used to reflect the mental state of the Driver (notice how even when driving fast the car always appears to be coasting until a job goes wrong and he is taken out of his comfort zone. It is only then that the true speed is shown on screen) or how much is said with so few words. These are not deep characters, to the point where Driver's development is expressed most clearly through a garment of clothes as he transforms from the frog to scorpion, but they are performed so beautifully it doesn't matter. The romantic relationship between Driver and Irene (another great Mulligan performance) bristles with both tension and passion, she presents more danger than any robbery or film stunt yet also provides the safety and hope that Driver has removed from his life. These aren't new story ideas but few films have delivered them with such style and efficiency before. The punctuation of bloody violence is shocking but never gratuitous, which is surprising considering just how graphic it is in places. Instead it fits both the world of the film and the character of Driver as words were never going to solve his problems.

Like all the best things in life, Drive will not be loved by all. It is a film that will win you over early or not at all (I should know, the other people I saw it with hated it) but if it does grab hold you'll be hard pressed to find a better film this year.