THE ARTIST
Dir: Michel Hazanavicius - Starring: Jean Dujardin, Berenice Bejo, Uggie the dog

Ever since I first saw it I've been telling people how good The Artist is. But – almost without exception – no-one wants to see it. So here I say it again: forget the fact that it's neither in colour nor widescreen, forget the fact that there is very little dialogue, see this film! It is a pure joy that will bring bubbles of happiness to even the hardest heart.
The Artist tells the story of silent film star George Valentin, a man who cannot accept the arrival of talkies even as his stardom slips and his films are swept aside by the new medium. His decline is mirrored by the rise of perky new starlet Peppy Miller.

Don't make the mistake of thinking that The Artist is a silent film. Of course, given their use of music, even the real 'silent” films were never silent, but this takes it a step further, foregrounding the use of sound for some of its best jokes and even allowing for dialogue at the end.
The Artist just gets all its components so right. The direction is slick and assured, the performances simply delightful, and the story – old as the era that the film is set in though it may be – seems fresh and vibrant. This is a film with a massive amount of heart. It also has the cutest movie dog since Lassie retired.
Give it a try – you won't regret it.

Those hoping for actual dinosaurs will be disappointed by Sundance and BAFTA winning Tyrannosaur. This first film as writer/director from actor Paddy Considine is a harrowing portrait of violent men: Joseph (Peter Mullan) is locked in a spiral of self-destructive anger until he meets apparently straight-talking religious op-shop worker Hannah (Olivia Coleman). He is tormented by neighbourhood thugs; she has an abusive husband; together they form a tentative friendship. It's a bleak, beautifully detailed film, a sad yet hopeful drama, brilliantly acted and marking Considine as one to watch for behind the camera as well as in front.

There's plenty of naked flesh on display in X but the promise of an erotic thriller is distinctly undermined by the downbeat realism of sleazy Sydney's prostitution scene. It's the story of two women, one a seasoned high-end hooker readying to retire, the other a runaway new to the game. Their paths coincidentally cross for a job that goes horribly wrong: running and chasing ensue, interspersed with hitting. It looks good – all harsh neon and grime – and is impressively acted, but while long on seedy atmosphere it is ultimately short on complexity and thrills.

Aussie film Face To Face takes place during a community conference: recently fired doofus Wayne has deliberately rammed his ex-employer's car; this meeting with workmates and family is to avoid a court case. Though failing to shake its origins as a stage play, the writing by top Aussie playwright David Williamson (Don's Party, The Club) is so strong that the twists and turns of the story, slowly revealing a truckload of dirty laundry, remains involving throughout. Played with naturalistic skill, it's a pleasure to watch a drama both intelligently issues-focused and so rich in character.

There's almost a sub-genre now comprising action comedies in which someone is pursued by numerous eccentric assassins. Think Smokin' Aces or Shoot ‘Em Up. The runner in Cat Run is call girl (and single mum) Cat. That the film's tag lines are 'CATch Her If You Can” and 'CATch The Action!” (their capitals not mine) does not bode well. Add in derivative Guy Ritchie tropes – characters introduced with title cards, gimmicky editing – and the likelihood of originality is slight. But that's not of huge importance: there is much killing and ample bare skin. Extra points for an assassin who is a cross between the Terminator and Mary Poppins.