Wednesday, 15 January 2014


This is the third film I've seen on the trot in which human suffering is to the fore. At least this one, coming in at under two hours, doesn't have the near-epic length of either 'Mandela' or '12 Years', so that's a plus. Unfortunately there aren't that many more 'pluses'.

Based on a true story, (aren't they nearly all?), Colin Firth plays an English survivor of a Japanese-run POW workers unit forced to build a railway in Burma during WWII ('Bridge on the River Kwai' territory.) We first see Firth a couple of decades later approaching late-middle age, as a steam railway buff, chance-meeting Nicole Kidman in a railway carriage in England, Kidman having yet again to adopt an English accent, which she always does very well. In no time at all they're married, he having kept in the dark from her his periodic flashbacks to wartime experiences, reflecting his barbaric treatment by a particular one of his Japanese tormentors, who is also the group's only translator. The action switches back and forth between his Burma experience (the young Firth character played by Jeremy Irvine quite convincingly) and later complications with his wife who is desirous to know the truth of what happened though he is reluctant to reveal it. We do actually see the treatment to which he is subjected. (One more difficult watch!) He has also kept contact with other survivors, one of whom is unassumingly played by Stellan Skarsgard (who was one of Firth's co-lead players in 'Mamma Mia'!). Skarsgard's low-key and measured performance seems to me a bit at odds with how the film develops concerning his character, though it might have been intended to be a case of 'holding it in' as Firth's character was also trying to do. When Firth is informed that his Japanese torturer is also still alive he becomes intent on seeking revenge.

I haven't seen any of director Jonathon Teplitzky's other films, none of which is particularly well known. I didn't think this was actually bad, just rather not special enough for the story it tells. And if it hadn't been based on fact I simply would not have believed the heavy sentiment of the very final scene, though I concede that it might well have taken place.

One to wile away a little time, then, but without it lingering in the mind anything like yesterday's did. I give it a...............6.

Film: '12 YEARS A SLAVE'

I approached seeing this film with considerable foreboding, having heard how gruelling are several of its scenes. My apprehension was well-placed. This is one of the most harrowing films I've ever seen. In fact, outside the horror genre, it could well be the most. At least with horror, even at its goriest, there comes a point where it becomes so ridiculous as to be laughable. Not so here, by a long chalk.

British director Steve McQueen has now begotten a consecutive trio of distressingly hard-to-watch films ('Hunger', 'Shame') - this latest one being the toughest to sit through.

 '12 Years....' has just won the Golden Globe award for 'Best Drama', and I wouldn't argue with that. But as to it being in the classification of  'entertainment', that is hardly an appropriate word.

The ever-fine Chiwetel Ejiofor plays a well-connected, respected and comfortably well-off, New York husband and father who is tricked into visiting Washington under the pretext of displaying his violin-playing skills. There he is drugged, kidnapped and sold off as a slave, firstly to a half-sympathetic Benedict Cumberbatch, then to the cruel and sadistic Michael Fassbender with his equally scornful white foremen and his dismissive family who regard all their slaves as being their property to do with what they will. The kidnapped victim's protestations about who he actually is are contemptuously dismissed and he quickly learns that in order to survive his appalling situation he has to accept his imposed-on new identity, suppress his true feelings and try to stand apart from the horrific suffering around him. The internalising of emotions captured by lingering shots of his motionless face during unspeakable acts of savagery meted out to him and other slaves is extraordinary.

Throughout the film all colours are subdued with many scenes being dimly lit.
I don't wish to give away the vicious severity of incidents depicted, save to say that this film scored very high on the number of times I flinched or had to look away from the screen.
I saw Spielberg's 'Amistad' just the once when it was released in 1997, another film with a slavery scenario. Scenes from that film have haunted me for the last decade and a half. '12 Years a Slave' goes quite a way beyond that and I know that I will be unable to dismiss recollections of it for the remainder of my life. If such scenes were to be shown on TV I'd be changing channels - and I could only survive this one by telling myself that what's on screen is not real, even though the events depicted are based on reality as documented in Solomon Northup's (Ejiofor's character) own book.

I found all the cast remarkable. In the recent 'Golden Globe' awards the 'Best Actor' category was won by Matthew McConaughy for 'Dallas Buyers Club', a film which hasn't opened here yet. Having pipped Ejiofor, surely his closest rival for the award, I can only assume that McConaughy must have produced something truly astonishing, which I really look forward to seeing.
In '12 Years' it might be said that the appearance of Brad Pitt in a couple of late final scenes was distracting.  So it was, but it was a distraction I welcomed in helping bring me back to my own reality.

I don't seriously think that many people who see this film will afterwards just shrug their shoulders in 'so what?' style, consigning it to their memory banks along with all the other films they've seen. It does stand out, heart-breakingly so. If I'd had the choice I would have preferred not to have seen it, as the memory will linger with some pain. But there's no denying that it is a significant film, and for that reason should to be experienced by anyone who loves the medium of the cinema.

It would be impossible, despite my own having been put through the mill, to endorse this film with anything less than an......................8.

Wednesday, 8 January 2014


Following the very recent death of the man himself and the subsequent protracted lying-in-state, memorial service and  actual funeral, with all the saturation TV and radio coverage plus special tribute programmes, I still haven't quite got over 'Mandela fatigue'. So the opportunity to see this now was unfortunate timing. Still, duty called!

I knew this wasn't going to be a hagiography and thankfully, it's far from that, at least regarding his pre-prison life. (It's actually based on his own auto-biography). However, I'm not sure if it was my weariness of the subject matter (surely remarkable enough for being the subject of any film) that caused me to see this as being, by and large, rather flat. True, there are a number of short scenes of harrowing violence on the part both of the South African authorities and the ANC (largely shot in 'newsreel footage' style) but they didn't really tell this audience member anything of which he wasn't already aware. I would have thought that the same went for far younger viewers than myself. But I suppose these events had to be told somehow in order to illustrate the context of the story. They could hardly be omitted.

I wasn't familiar with a single name in the cast though I understand that some will be familiar to ardent TV viewers. Idris Elba does a sterling job in the title role. He got the voice very close though facially his resemblance to Mandela is less than slight. Additionally, he lacks the man's trademark radiant-sunshine smile - but how many others do have it?.
Naomie Harris does just as well playing Mandela's second wife, Winnie, transformed by her own months of imprisonment  from dutiful wife and mother into firebrand militant. Though she was by no means glossed over in this film I regretted that her part in it didn't merit greater focus. However, we do get to witness the couple's estrangement up to his time of release.

I was brought up with a bit of a jolt by Mandela being the object of scorn and contempt by the prison guards at the start of his Robben Island incarceration to his quite suddenly being regarded as a political leader with influence earning the respect of much the same officers. Of course the jump takes place over quite a number of years but I don't think it was handled very adroitly.

English director Justin Chadwick, whose work to date has been hugely dominated by television, ends this story when Mandela becomes South African President, which was fair enough, though predictable.

On the whole I thought the film was okay. It might have been my own exhaustion at seeing yet more of the central figure but I did leave the cinema feeling that he really deserved something rather more interesting than this offering which was only one step above being humdrum.....................................5.5.

Monday, 6 January 2014


I needed this film to be a salve in discovering that ticket prices at my favourite and most frequented art-house cinema have been hiked by a stupefying 50%. Whether this will necessarily entail a reduction in my cinema-going only the future will show.

By and large it turned out that the entertainment value of this picture eased the initial pain and surprise more than a little.

Much has already been said about the involved and intriguing plot, concerning the FBI carrying out a 'sting' aimed at exposing corrupt congressmen, along with their mafia connections and sympathies, by getting them to accept hefty monetary bribes in exchange for giving the nod to otherwise controversial schemes.
The leading FBI officer is played by Bradley Cooper, for whom I've long since had the hots, but who here looks the most scrumptious I've ever seen. If I could ever have had the looks which he exhibits in this film, if it were a requirement, I swear I would even have gone down on Mother Theresa herself - provided she agreed, of course. (A modest price to pay, surely?)
Con-artists Christian Bale and Amy Adams play his reluctant accomplices coerced into helping execute the sting. Add to the mix Jennifer Lawrence, the Bale character's tricky wife and potential trouble-maker - and Jeremy Renner as big-shot politician at the centre of the dupe, then it's a particularly fine ensemble cast. (Btw: During the course of the film the remarkable facial similarity struck me of Renner to Liberace.)

This super-slick film (good, alive script) has an interesting selection of pop hits on its soundtrack, from vaguely around the time of the film's (late)70s setting. Made me want them to play the entire things!

If I'd been on my toes I might have guessed the big twist in the film's close, and I'm sure a lot of people did. But it didn't detract from the pleasures of the build-up. I've got to say, though, that the film was just the timiest shade less impressive than I'd expected in the light of so many exceptionally positive reviews. But if I score it slightly higher than my previously-seen film, 'All Is Lost', it's only because the latter is a film I'm pleased to have seen the once, whereas I'd look forward to seeing 'American Hustle' a second time....................7.5

Friday, 3 January 2014


Commendably simple and effective story of a man's lone survival struggle in the midst of the Indian Ocean. Writer/director J.C. Chandor keeps this virtually wordless drama clutter-free by furnishing us with no details at all of Robert Redford's character's (the film's only person) background, work or family, if any. So we are mercifully spared those cringeworthy "I love you, Daddy!" moments.

The film opens with Redford's voice-over uttering just a very few words of resigned despair and apology for finding himself in the hopeless situation which has developed. It then reels back "Eight Days Earlier" to reveal how he arrived at this point, when he woke up to find the sea invading his yacht, it having been rammed and holed by one of those huge, sea-transit metal containers floating free on the ocean. The entire film then depicts his fight to stay afloat and alive. 

There are only so many situations one can meet alone at sea, all of which we have seen before in numerous films - leaky craft, tempestuous weather, communications not working, hostile marine life, ships passing unobserved, starvation/dehydration, I think that covers it all (other than the far less likely intercession of aliens). Several of these are covered in this tautly-told story.

It must have been a nightmare to shoot, with the film crew always having to be out of camera-shot. It is believable, as is Redford in the part, with his already weather-beaten features undergoing still further deterioration in the course of the film, which mirrors the mountain of stresses he undergoes and his helpless moments as he strives against the odds to survive. He is so rarely seen on screen nowadays in any case so that by itself ups the interest level.

An involving story, efficiently told, which, for a change in so many of today's films, doesn't outstay its welcome...........................7

Thursday, 2 January 2014


Well I can't deny that I did laugh a bit.

Will Ferrell, reprising his act as TV anchor Ron Burgundy, is fired from his job for gauche on-screen incompetencies while his co-presenter wife is promoted. He gets a chance to host a graveyard shift on a rival network's new 24-hour rollings news programme and he corrals three of his former workmate-buddies (Steve Carrell, Paul Rudd, David Koechner) to share in his opportunity and come up with ideas to make his programme a television sensation as well as to surpass the ratings of his cartoonishly arrogant and repellantly good-looking peak-time competitor.

Much of the 'humour' of this appeals to base instincts, often sexually crude or scatalogical with occasional slapstick - and including an infamous dinner scene in which Farrell, the only white man sitting round the table with a number of African Americans, can't control his tongue from mouthing stereotypical attitudes towards and assumptions of the latter. At least three of the reviews of this film I'm aware of considered this scene grossly racist-offensive in going much too far and being too prolonged. I have to confess that I did find a lot of it funny. (To my shame? Perhaps).

However, as with so many comedies, this film finds it can't sustain the laughs for its two-hour length, and runs out of steam about two-thirds through. In fact the aforementioned dinner scene also marked my own final chortles. There's no doubt it would have been a stronger film had it been shaved of the excesses of its final 30-40 minutes - and one knows they are clutching at straws when a handful of famous names appear (a number of them uncredited) as though to 'shore up' the enterprise. When they come on screen are we supposed to laugh at their participating in this enterprise or to be merely self-congratulatory amused at our own recognition of them? Whatever it is it does no favours to the film itself, smacking more of desperation than anything. All this plays simultaneously with the inevitable mawkish finale involving Burgundy's young son and estranged wife.

When I first went to see the original Anchorman film I was the only person who turned up, so, lacking a 'quorum', the cinema cancelled that particular showing, (At that time the name of Will Farrell was completely unknown in this country.) But I did attend a later one and I did find the original film not all that bad, perhaps a tiny bit lower than the level of this follow-on.
This film was reasonably well attended and I had the impression that the audience largely got its money's worth.
As I say, that did include me for just over half the film, but then once it started to slide there was no stopping it.........................5/10.

Tuesday, 31 December 2013


When I posted my 2013 Top Ten yesterday I took a gamble that this film wouldn't disturb that list. Well, it's just as well that I hadn't also posted a Bottom Ten!

Not being familiar with the Danny Kaye 1947 film nor with the James Thurber short story, and although I knew the basic idea of a fantasist regularly inhabiting his dream world, I had prepared myself for a gentle, even quite amusing, comedy peppered with whimsy. What I saw was a sporadically engaging (infrequently) romantic tale which didn't have to progress very far before being weighted down with cloying sentiment. Maybe my skewed and unfair expectations didn't give it the chance it needed. However, if I'd known what it was going to be I probably wouldn't have bothered going.

Ben Stiller (also directing) plays a hard-done-by character who works for 'Life' magazine, trying to attract the attentions of a female co-worker he's fallen for. Simultaneously the firm is on the edge of closure prescribed by a bearded trio of young executives, with prospects of mass redundancies. Meanwhile he's trying to save the day by searching for an elusive photographer who somehow holds a talismanic photo-negative of a picture he's required to produce for the magazine. (Don't ask. I got lost!) His search involves excursions to Greenland, Iceland (fabulous severe landscapes) and the Himalayas via Afghanistan - where the  mysterious photographer (Sean Penn) finally appears for one scene. Stiller's return is all sentiment with no laughs, which had started to fade out long before then anyway.
There are only a few excursions into fantasy, nearly all of which are towards the start of the film, and only a single one (a chase) being in any way engaging in its relative length and extravagance.
Also appearing in three briefish subdued scenes is Shirley Maclaine as Stiller's mum. At least her presence helped to maintain my minimal interest.

If I'd left this to be seen in 2014 I'd be saying "Things can only get better!" As it is I hope the new year of cinema-going gets off to a more promising start.............................3.5/10

Monday, 30 December 2013

My 2013 Top Ten films.

This has been a really exceptional year. I don't recall another time when there have been so many strong and worthy contenders jostling to be included in my ultimate 10 (out of 89).
Firstly, I chose the 20 to which I'd given my highest ratings. Then weeded them down to 10 (with some notable films falling at this hurdle - 'Gravity', 'Les Mis.', 'Quartet', 'Lincoln', 'Captain Phillips', to name but some). Then I juggled with placings for the select remainder until I settled on what looked 'right' in accordance with my own personal tastes for what I consider good and satisfying entertainment, eventually coming up with (in ascending order)-

10 Saving Mr Banks
Thoroughly absorbing take on the transfer of Mary Poppins from book to film. The fact that Emma Thompson and Tom Hanks didn't look much like the originals of the characters they were portraying robbed the film of nothing. A film which could have been shallow but wasn't, especially in the Colin Farrell episodes, portraying P.L.Travers' father when she was a child.

9 Le Weekend
Exceedingly well-observed story of ageing English marrieds (Jim Broadbent and Lindsay Duncan) trying to rediscover romance on a brief return visit to Paris. The occasional sour exchanges between the two alleviated with some lighter moments makes for an engaging hour and a half - dented only by Duncan's exasperatingly inaudible delivery at more than one crucial moment.

8 Much Ado About Nothing
One of the real pleasant surprises of the year. Low-budget, b/w, American cast in modern dress, set entirely in one house and its grounds - and it all comes together to work a treat.

7 The Great Gatsby
Baz Buhrmann pulls off yet another sizzler. All high energy with loads of visual and aural assaults - yet still basically faithful to the book, standing up easily in comparison to the 1970s Clayton version, with Leo DiCaprio, Carey Mulligan and Tobey Maguire all in outstanding form.

6 Enough Said
Another one that really came out of the blue, though boosted in audience terms by news of the death of James Gandolfini shortly before its release. A gentle romance with some quite amusing nail-biting moments. But overall, a delight.

5 Nebraska

Original story, superior script, brilliantly cast, high level of acting throughout - this has it all. Plus it's another black-and-white film, as it just had to be. Marvellous!

4 Philomena

Judi Dench, perhaps over-exposed regarding her numerous film appearances, nevertheless at the top of her game in this heart-rending tale of a mother searching for her out-of-wedlock-born son whom she was forced to give up through the policy of the Irish Catholic authorities. Steve Coogan, as the writer assisting her in the search, is as impressively convincing in a serious role as one could wish.

 3 The Hunt

Danish film, gripping drama, of primary school teacher being falsely accused of improper conduct with one of the young schoolgirls. Troubling situation which only brings to the fore worries we have of the extent to which this still happens - and no one seems to have any idea how to prevent it recurring, when a child's testimony is believed above that of the protestations of the accused. Mads Mikkelsen is extraordinary as the accused, already undergoing divorce proceedings while trying to maintain custody of his own son.
It's a testimony as to what regard I have for this film in that I place it so high despite it having two scenes which would have disqualified me from seeing it at all had I known beforehand. (The film's very opening shows the shooting of a deer - and later, there's a gruesome sequence involving a dog.)
Incidentally, this film has received by far the most hits on my blog than any other film I've ever reviewed - over twice as much as the next most viewed ('The Way Way Back' - also quite unexpected). At least 'The Hunt' strongly merits its curiosity-popularity.

2 Blue Jasmine

Just loved this! I can't imagine anyone who's even half the admirer of Woody Allen that I am, not liking it a lot. Cate Blanchett, with a superiority-complex, as she's never been seen before, all snidery and snobbery - with Sally Hawkins also putting in an amazing turn as her feet-on-the-ground 'sister'. The frequent shifting back and forth in time between NY and San Fran works well, with no difficulty in following what's going on. A film like this shows how Allen can still come up with the goods despite most critics thinking that he's produced many more disappointments in the last twenty years than fine efforts (though I'll still re-watch any of them). But this one is unarguably top drawer stuff.


Yes, I've thought long and hard whether to nominate this as my 'Film of 2013' but I'd be dishonest if I hadn't made it so. I'm quite aware that the film has had not a few detractors as well as rather more reactions of puzzlement, but I'm not compiling my list in accordance with what others think it ought to be, therefore this is the one which takes my personal top slot. 
A perfectly valid interpretation in cinematic terms of an extraordinary book. I did have the advantage(?) of having read the original David Mitchell novel before seeing the film - and have read it again since. The form is quite different for this film but with this bold re-visioning of the source it shows exactly how the medium of cinema can stand up on its own terms. With actors playing multiple roles (Tom Hanks again leading the field) in a multi-strand, time-jumping work, it succeeds with honours. It's over 10 months since I saw the film yet after all this time it still leaves a deep impression. It's a bold, risk-taking venture - and the result is that it comes out as extraordinary as it aspired to be. 

Congratulations to 'Cloud Atlas' for winning the esteemed 'Raybeard Golden Award for Film of 2013'! Well done to all concerned!

(Oh, and my 'Stinker' of the year? I give you 'A Song for Marion'. Look up my review if you want to be bothered. I can't!)

Now, here's to hoping that 2014 can serve as many nuggets as we got in the last twelve months. Bring 'em on!

Wednesday, 25 December 2013

A Christmas Special - The entire gang of toms is all here!

Here's something unique from me on this special day - a comprehensive listing of my current co-habitees and regular visitors.

First in order of seniority, my beloved Blackso. He decided to live with me soon after I moved into my current flat in 2000 - and he was more than a kitten then, so he must now be at least 14 years old, more probably 15 or even older. He was originally living in a house down the road, being one of half a dozen cats resident there. All attempts to get him to stay at his home failed, he insisting on living with me for some reason. His former owners have long since moved on, taking their remaining brood with them.
He's very affectionate, purring as soon as I pick him up. He always rubs his face against my nose, and he'll never miss a chance to jump into my lap. Always been healthy too, but scares me to death with his insistence of crossing the road to prowl around in the park on the other side, or to sit on the park wall where his friendly and trusting nature to everybody passing is terrifying, making him an easy prey to anyone who feels hostile to cats. But I do love him dearly, bless him!


My co-resident #2 is Noodles. Also left his home on this same road (but in the other direction to Blackso) to live with me, I think he ran away from there because the owners had two young daughters, maybe 6-8 years old at that time, who possibly just wouldn't leave him alone. (I was the same at that age, treating our then pets as toys, not allowing them time to rest.) As with Blackso all attempts to get him to return failed until his former owners just gave up. Noodles is much more stand-offish than Blackso, never demonstrative with any affection.. I'm not allowed to pick him up and he never jumps onto or stays in my lap, but in his current night sleep phase he's now sleeping in my bed beside my pillow, even purring as he settles down. I reckon he must be about 10 years old - and he's another healthy one.


Mystery cat 'Ginger' appeared as little more than a kitten about 5 or 6 years ago. I've no idea where he came from but he does now turn up here every day to eat and sleep. In the last few months he's put on a great deal of weight rapidly, more than his eating here would warrant, I think. He's now even bigger than Blackso. So whether he's eating elsewhere as well I don't know. Problem is that he's not been doctored - and his loud calling outside sounds like he's looking for a mate. Don't know what to do about him, giving me more worry than any of the others.


Patchy is the 'community cat' (probably aged around 12) who visits every day but, according to his owners (ardent cat-lovers who live just round the corner with their own family of them) is comfortable in any place where he can get food and warmth. If so, then this is definitely his favourite place of all. When he visits he takes over the entire place, even sitting at my open window to vet who comes in and out, refusing entry to 'strangers' with a snarl and a hiss - just like a personal club doorman! He's not afraid of anyone else - apart, that is, from one little intruder, an all-black visitor called 'Sooty', who terrorises all and sundry and is the only one who makes Patchy cower away. Thankfully, like Blackso and Noodles, Patchy has also been neutered.


And finally, Heckie (or Hector), next door's cat, now just over one year old. All play, inquisitive and bold as brass, he spends more time with me than he does in his own home, where he regularly finds himself locked out. So rather than wait on their window sill crying, as he used to do, he now comes to where he's learnt there's always an open window - and he scoffs food from everywhere and anyone else even while they're still eating. No manners at all! But he too hasn't been neutered even though I've mentioned it to his owner who says he will get it done. I hope so, otherwise more trouble ahead.


So those are the five who use my place as a main or second home. There are also several more pop-in visitors ever looking for scraps of leftover food that they can mop up, but never staying longer than it takes to do only that. 

Until quite recently when I was ready to turn in for the night I'd go to my bedroom and find a cat or two curled up or spread out on my bed. In this case it was Noodles and Patchy and I found myself having to snake my body between them, trying to find a position that was reasonably comfortable enough in which to sleep, but sometimes getting warning growls from Patchy, threatening to lash out with his claws if I disturb him too much. 

Pussies all over, and they've got me under their little paw-thumbs! Oh, it's a dog's life, it really is!

And the very 'bestest' of wishes to every single one of my blog readers from ALL the above - plus yours truly! (And that includes wishing you, Paul, if you're reading this. I've missed your valued comments on my recent posts. I do hope that you're okay.)

Wednesday, 18 December 2013


If spectacle is your bag and you think that it's enough to make or break a film on its own, you get that a-plenty here - both as natural landscape and as CGI-produced features and structures.
This 'middle one' of Peter Jackson's Hobbit trilogy, like the first episode, left me not caring that much about what was going on, because I simply couldn't follow it all. I've read the book twice (and LOTR at least five times). Not that it matters, as the film trilogy of 'The Hobbit' is so far expanded out of the source material from which it derives as to bear little relationship to it other than the title and the basic idea. But I'm not exactly complaining about that.

Ian McKellan and Orlando Bloom are two of the stalwarts of the franchise who turn up again here, joined for the second time by Martin Freeman as Bilbo Baggins, all joined by several faces particularly recognisable to British audiences.

I would be no less informed about the plot if there were no dialogue at all. A lot of that which there is, to me now sounds like pretentious doggerel , as though one has got to be 'in the know' to follow what's happening. Notwithstanding that, a lot of the action (with some brilliantly-created monsters of various species)  is good fun, chases galore, fights, battles, a bit of amusing slap-stick. I must give credit to the inventiveness of some of the antics - and the special effects cannot be praised too highly. On the other hand I once again experienced a few yawn-inducing longueurs, though I don't think there were as many as in the first film.

I'd already forgotten how the first part had finished, and I hadn't been interested enough to have my memory prodded. I reckon that by the time the final part mercifully appears I'll also have forgotten the 'cliffhanger' that concludes this part.

There's no doubt that this trilogy is turning into a major achievement, though in no way eclipsing the 'Ring' films, which I found much more entertaining, probably because I was more familiar with those books, and those films were an attempt, largely successful, to transfer that story to the cinema screen. 'The Hobbit' trilogy, by blowing it up so far, contains more of Jackson and his writers than it does of Tolkien, simply taking the latter's characters and creating an extended story for them. But that's cinema for you, which is fair enough.

If one is a great fan of this franchise then this film will have everyone one hopes for - interesting and varied characters (though only very few are female), no shortage of thrills with some astonishing camera work (particularly impressive in 3D). I've mentioned my reservation with the script but if one has a keener interest than I own maybe it is possible to make some sense of the gobbledygook.  

I will be going to see the final part, though not with any great enthusiasm - just to be able to say "I've seen it!"
In terms of achieving a level of entertainment for me personally, I award 'The Hobbit - Part II'.............4.

Added one day after writing above: 
As a result of Walt's comment (WCS) below, I referred back to the review I wrote for Part I of 'The Hobbit' in December 2012 and, to my deep embarrassment, find that, contrary to what I say above, I was fulsomely positive about that film, even going on to award it a 7/10 - and furthermore, saying that I was actually looking forward to its sequel! (Ouch!) But it would be unforgivably mendacious to alter the above review upwards (or downgrade last year's) so, with abject apologies for my inconsistency and faulty memory, I have decided, albeit red-facedly, to let both stand.