The Tree of Life (US, 2011)

The storyline insofar as there is one, is of Sean Penn's character's recollections of his eventually borderline-delinquent childhood in a wooden house in 1950's middle America. Brad Pitt plays the aggressive, dictatorial and rather unliked father.

This fractured, curious film is remarkably experimental for an old master. Some might make much of its jurassic, cosmological, theological and operatic elements, but the one constant is how good it looks from start to finish.

It's not happy or light viewing, but scores highly for its 'tone poem' photography and atmospherics.

The Dark Knight (US, 2008)

As good as 'Batman Begins' with perhaps more by way of black humour.

La Notte/The Night (IT, 1961)

Probably the poorest component of Antonioni's early-mid 60's four-part trilogy. It still looks good though (one rather ugly interlude at a small jazz club aside); the photography, while not his absolute best, retains his unique, timeless and instantly recognisable style. The unrelated, incidental episodes and conversations are thankfully still there; if this film suffers, it's from the typically Italian 'over-analysis of feelings'. The beauty and boredom of the surroundings is well captured , as is the night-time atmosphere at the posh Milanese villa where much of the action occurs.

Batman Begins (US, 2005)

An undeniably impressive, entertaining and satisfying big-budget thriller.

Rushmore (US, 1998)

The charismatic, confident lead Max Fischer (Jason Schwartzman) excels at a range of extracurricular activities at Rushmore private school, at the expense of his studies. He strikes a chord with millionaire businessman Hermann Blume (a typically deadpan Bill Murray), and becomes infatuated with the somehow, somewhat, attractive teacher Miss Cross. Despite eventually getting expelled from Rushmore, the school, its setting, characters and asides remain in focus.

It's an interesting, likeable, imaginative, original, quirky-in-a-good-way film.

Le Quattro Volte (IT, 2010)

In places funny, in others sad, nothing much really happens in "Le Quattro Volte". This unconventional, detached film lacks any real dialogue or characters, relying instead on atmospherics to convey the episodes and customs of the nice yet scarcely beautiful/romantic rural Calabrian village.

The fascinating charcoal-making scene at the end brings to mind the bell-making sequence of 'Andrei Rublev'.

The director's is quite the original and naturalistic vision; can't help but think that this film would have impressed more via a projection on 35mm rather than beta digital video.

Last Night (US, 2010)

Manhattan pad dwellers Joanna (Keira Knightley) and her husband of 3 years Michael (Sam Worthington) argue over his eyeing up of an associate Laura (Eva Mendes) at a party. It just so happens that Michael and Laura are both flying out of town on business, but what little interest exists here is in the meetings of Joanna (Keira Knightley) and her French ex Alex (Guillaume Canet), both writers of course, who, raking over their past, wonder what if...

The miscast Sam Worthington's pairing with Knightley produces no spark; equally worthy of relegation to the subplot is Eva Mendes.

It's a sincere yet superficial effort which will probably resonate more with a younger, yuppie audience.

Potiche (FR, 2010)

Have never been really sure what to make of Ozon; his work seems to run the gamut from OK but incomplete/not entirely convincing (5 X 2, Swimming Pool), poor (Les Amants Criminels) to good or very good (Refuge, Water Drops on Burning Rocks). Here again he switches tack to crowd-pleasing 'Stage French' melodrama; it's well produced, with a camp 70's look and feel, but slightly overplayed, and maybe a little long.

Atonement (UK, 2007)

Pre WWII stately English home in which the jealous, scheming, calumniating Briony wrecks the romance between her older sister and servant family's son who is jailed for a crime he did not commit. Fast forward some years later to WWII; what will eventually become of the lovers, and indeed Briony?

Surprisingly successful as a period piece (costume, props etc), eschewing easy morality, in places touching, and never demanding less than full attention. At the clever, slightly unexpected conclusion of the story, the question remains: Has there truly been atonement?

Touted on the DVD cover as being from the same director as 'Pride and Prejudice', this is by far the better film.