Deborah Ross

Astonishingly, I enjoyed The Town even though it is a heist movie with set-piece shoot-outs and car chases and even though it doesn’t break any new ground, which is just such a faff anyhow. Astonishingly, I enjoyed The Town even though it is a heist movie with set-piece shoot-outs and car chases and even though it doesn’t break any new ground, which is just such a faff anyhow. Have you ever tried breaking new ground? It’s exhausting plus, after a certain age, it is very hard on the knees. So this isn’t fresh, exactly, but it is tense and exciting and well performed and you do end up caring about the people you’ve been manipulated into caring about. I ask you: what more could you want from a trip to the cinema?

Tamara Drewe 15, Nationwide Tamara Drewe is directed by Stephen Frears and is based on the graphic novel by Posy Simmonds and so you may think, as I did, what’s not to like?, to which I would now have to reply: where do I start? Where, where, where? I wanted to love this film. I strained with every fibre of my being to love this film and, had the fibres of your being been available — which they rarely are; you are quite stingy with your fibres — I’d have strained with those too, but Tamara Drewe is just so determinedly superficial, uninteresting and predictable that, in the end, it could not be done. Or, as one of my fibres later told me, ‘I strained like a mad thing but, alas, it was not to be.

Scott Pilgrim vs. the World 12A, Nationwide Scott Pilgrim vs. the World has a running time of 113 hateful minutes — actually, make that 112 hateful minutes; the first minute was fine, and not too loud — but, in its defence, it probably wasn’t made for someone as hopelessly middle-aged and frighteningly not with-it as me. (I’ve even started saying ‘Ooh, that so hits the spot’ when I take a first sip of tea.) It’s based on the graphic novel by Bryan Lee O’Malley, should that mean anything to you, and is a frantic, frenetic mash-up of comic-book iconography, video games, music videos and, I’m guessing, whatever else young people are into today but I just didn’t get. I do not know if this film failed me or I failed it.

Beautiful Kate 15, Key Cities Beautiful Kate is one of those emotional-journey films that begins with a family member returning home after a long, unexplained absence and, whatever else happens, you know they are not all going to settle down to a nice cup of tea and a cheerful catch-up. Instead, old wounds will be reopened, secrets from the past will be reawakened, skeletons will clamour to be released from cupboards and the flashbacks will do what flashbacks do: that is, flash back, rupturing the narrative before bringing it together and creating that satisfying whole. As a cinematic plot, this is as old as the hills, but if you like this sort of thing, and I rather do, then you will like this film. It’s absorbingly intriguing, emotionally involving and it will get under your skin.

Shrek Forever After U, Nationwide Shrek Forever After proves, once and for all, that this franchise is now a busted flush — personally, I’ve never seen a flush so busted — and while it would be wrong to blame Fabio Capello, just because he’s being blamed for everything else around here, let’s do it anyhow. Fabio: how could you? Yes, it is wrong, but it’s also jolly handy, and kind of fun. I even blamed Fabio for meaning to go to the gym this morning and then not bothering. That’s how handy he is. Anyway, Shrek. Shrek is the big, silly, noisome green ogre whom, in the past, I have loved properly and sincerely. But the Shrek in Forever After is not my Shrek, just as he’s not the Shrek of the first film (sublime) or the second (sublime plus).

Good Hair 12A, Key Cities Get Him to the Greek 15, Nationwide When Chris Rock’s four-year-old daughter Lola came up to him crying and asked, ‘Daddy, why don’t I have good hair?’, he did not do what I would have done, which would have been to send her to bed without supper. Honestly, don’t today’s parents have enough to do without answering awkward questions? (For more child-neglecting tips, please see my Big Book of Child-Neglecting Tips, which is the definitive work of its kind.) Instead, Mr Rock, the American black comedian, lets us all down by thinking seriously about Lola’s question, and making this documentary as a kind of reply and, although it pains me to say it, it is a charming film: sprightly, droll, inquisitive and warmly sardonic.

Ajami 15, Key Cities This week I’m reviewing an independent foreign film of the kind which is possibly only showing in a cinema several miles away from you, but do not complain, as the walk will do you good and also put colour in your cheeks. This film is Ajami, and while it is set in one of those male-dominated communities defined by crime, violence and drug-taking and I am growing weary of films about male-dominated communities defined by crime, violence and drug-taking (Gomorrah, A Prophet, and so on) I am happy to forgive it because the sun is out, which always makes me cheerful, and because there are no vuvuzelas in it, which has to be good. Also, it is exceptional, and well worth the walk.

Greenberg, 15 Nationwide If you have ever wondered what the point of Ben Stiller is — and who hasn’t, at some stage in their life? Who hasn’t woken at 4 a.m., asking over and over: what is the point of Ben Stiller? What, what? — here is the answer: Roger Greenberg. There is nothing much to like about Roger Greenberg. He’s a narcissistic, prickly, nervy pain in the butt. But Stiller’s astonishing performance makes him so true that, if we can’t care exactly, we are fascinated by him, and his pained and painful struggle simply to get through the day. Just a look and we understand more about Greenberg than Greenberg does himself. I would not have guessed Stiller had it in him; not in a million years. He’s one cheeky little Focker all right.

The Killer Inside Me 18, Nationwide Michael Winterbottom’s latest film has already caused outrage and charges of misogyny, and while I did not like it at all, and did spend a good portion of the time hiding my head in my hands moaning, ‘Oh, sweet Jesus, please make it stop,’ I can’t say it’s a bad film. I want to say it’s a bad film. I long to say it’s a bad film and that, as a woman who once marched to reclaim the night — even though the night never marched for me — I was both repulsed and offended by the explicit, prolonged violence. But?

Four Lions 15, Nationwide Four Lions is Chris Morris’s comedy — comedy of terrors? — about a group of home-grown Muslim suicide bombers, an idea so thrillingly audacious that, when I first read about it, I thought, as you probably did: where is Mr Morris going to hide? In Salman Rushdie’s sock drawer? But while thrilling and audacious on paper, the film itself never properly gets going in any truly risky or satirical way, which is fair enough — what if Rushdie’s sock drawer were full, and Mr Morris had to hide in Rushdie’s pants drawer; would you like to hide out among Mr Rushdie’s pants? — but it feels like a missed opportunity all the same. Morris is an incendiary talent.

Iron Man 2 12A, Nationwide Iron Man 2 is a mighty dog’s dinner, which would be OK — or, as my dog Mr Woofie puts it, ‘Don’t knock it till you’ve tried it’ — but it is also fantastically boring. It’s the sort of boredom that starts at pore level and then seeps its way, via the lymph system, down into the very marrow of your bones. It’s the sort of boredom that makes you sad to be alive. It’s the entire axis of boredom. It’s the boredom that accrues when an incoherent plot, flimsy characters, a dumb script and an excess of CGI fighting nonsense all gang up on you. I think even Mr Woofie would have found Iron Man 2 boring and his standards, when it comes to any kind of entertainment, are quite low.