In A World

My second showing of the 2013 Sundance London season represents (for one person at least) the very definition of the word obsession. Introducing the film, Lake Bell described it simply as "short and sweet", which as it turned out, was an incredibly accurate description. But then of all people, she should know, as in what can only be thought of as a dazzling display of control freakery, she is not only the writer of the film, but also the director, producer, provides the post-prod vocals for nearly every unseen character (male and female) and even takes some time out to try her hand in the starring role. Someone's got trust issues.

In A World is a comic look into the American film voice-over industry, and the personal and professional struggles of a girl trying to find her break. Whilst the presence of the nigh-on compulsory love-story is an obvious inclusion as a back drop, the main narrative actually follows Lake Bell's Carol Solomon as she comes up against the industry that made her father's name, and the sexism and family dysfunction that crops up along the way.

Say what you like, the Windows 95 shower curtain behind her is a nice touch.

Though not a rip-roaring guffaw fest, In A Word does carry some genuine comic weight. It does feel slightly forced in some places, and even though some of the acting is guilty of becoming unbearably over the top towards the end, hidden within the rest are some absolute gems of one liners and comedy facial expressions which seem to come so easily to the veritable star of the show. Just as personable in real life, Bell's first full length feature is a genuine labour of love, and even attracts cameos from Hollywood top flight in the form of Eva Longoria and Cameron Diaz. A-listers and despotic writer/director/leading ladies aside though, In A World does have one precious thing that very much earns it's place on the silver screen at Sundance; originality.

Iron Man 3

Once again, I'm faced with a review dilemma. Do I make mention of my invitation to the premiere, sharing a red carpet with Robert, Sir Ben and Don (first name terms now) and sat a few rows behind Dermot O'Leary and the boys from JLS, and instantly sound like a toe-curlingly horrendous show-off? Or just subtly ignore the fact that I'm actually publishing this review a week before the film's actual release date? Well, I think we all know what kind of guy I am...

Iron Man's explosive return to the big screen not only rounds off his own personal trilogy, but also gives Tony Stark the rather dubious pleasure of having the first crack at Marvel film life post-Avengers. And while some (myself included) may have thought that the rod fashioned for his own back may simply have been too great, it's a thrill to be able to report that there are some genuine treats to be had. In fact, if anything, the team seem to have learnt so much of what worked from the Avengers that this film is actually much better for it.

For their first trick, Iron Man 3 is surprisingly laugh out loud funny, complete with some particular gems for British audiences (a joke about Croydon and some well crafted references to Downton Abbey being particularly well received at the premiere). The 3D achieved on this film is also very impressive, and perhaps some of the slickest and most immersive I've seen. Frequent references to events of previous films also help to keep an audience fully immersed in the franchise's universe, and almost effortlessly weave a much bigger narrative into this single film without compromising the plotline of the individual exploits of Tony Stark and co.

Fact of the day: snow angels are no more impressive when done in an armoured suit

All that said, though a more than valiant effort, Iron Man 3 isn't without it's faults. The pace does dip slightly low in places, a facet only made forgivable by the fact that the character empathy has almost become soap-ish at this stage, so regardless of the lull between the action set pieces, you still care what's happening to them. There is also a degree of suspension of disbelief required for some of the plot points. In fact, there are some that may even need a doctorate, as the story becomes so far fetched in places (yes, even more than an over-engineered body suit powered by a clean energy reactor driven electromagnet that keeps a piece of shrapnel out of a billionaire playboy engineer's heart) that even the possibility of one of the suits turning out to be C3PO starts to sound plausible.

As far as the actors are concerned, all the main faces are well and truly back. Much as Johnny Depp is to Jack Sparrow, Robert Downey Jr. continues to make it impossible for anyone else to ever play that role, and delivers some first-class dialogue expertly. The biggest shout-out however really must go to Sir Ben Kingsley, who aside from very obviously having one of the best written baddie roles since Keyser Söze, is blatantly having the time of his life playing it as well.

Scrapheap Challenge; bedroom style

Overall then, it's difficult not to rate this instalment as the best in the Iron Man saga. Provided you are willing to just accept whatever is presented to you, however unlikely or implausible, Iron Man 3 does well in learning from all the best bits of previous Marvel offerings, and delivers a truly impressive single character film straight off the back of last summer's spectacular. While the end-of-credits mini-scene is certainly not the strongest of the series (and for the first time, doesn't whet any kind of appetite of exciting things to come), it seems almost inconceivable that having learnt so much from their past in making this film so strong, we should be any less enthusiastic about the next instalments in the personal Thor and Captain America sagas, both due in the next 12 months.

The Imposter

The Imposter is not particularly a genre favourite of mine, but pleasingly, it is just too compelling a story to miss. Effectively the documentary equivalent of 'Catch Me If You Can' but with an added twist, this tale keeps us in the real world with a mix of interviews, reconstructions and a smattering of home movie footage to really bring home the reality of events on screen. Pace and intrigue is good throughout, with the tension never really letting up on screen as new information is consistently drip fed to great effect. If only to learn the final sting in the tail, The Imposter is genuinely riveting, and well worth a look.

Possibly the broodiest photo you're ever likely to see...

The Invention of Lying

The Invention of Lying was always going to draw its own obvious comparisons with 'Liar Liar'. For me however, the biggest similarity is a more unusual one; both films share the same annoying plot hole. Unfortunately, Hollywood seem yet to realise that the principle of 'only being able to tell the truth' doesn't mean that everyone is compelled to say everything that pops into their head. Sadly for scriptwriters, it seems to be a rather inconvenient reality that it is actually technically possible to just not say anything at all. But then where would all the cringe-worthy misunderstanding-based situation comedy be in that?

As titles go, The Invention of Lying does a rather Ronseal job of explaining its own plot line. Sadly, that doesn't halt the apparent need for about 20 minutes of 'set up' so we can fully be introduced to the concept. Unnecessary as it may seem, its inclusion does allow for a series of short, lie-based sketches, whose single purpose seem to be to allow Ricky Gervais to dip into his American friendly little black book to create an on-screen party for all his new friends. Indeed, the resulting treat features a succession of hilariously big name cameos from the likes of Edward Norton, Philip Seymour Hoffman, Tina Fey and Jason Bateman (to name just a few), with each granted just three minutes of comedic screen-time to help establish a principle that can be summarised in three words.

Even a $18.5m film can be a vehicle for Ricky Gervais' ego. New double glazing anyone?

The film itself is easy-watching enough. The story follows a series of deliberately obvious religious parallels, dealt with in an oddly inoffensive fashion for Gervais, that was presumably done so as not to anger middle America. That said, his influences are most certainly felt elsewhere, as no Ricky Gervais film would be complete without twenty second appearances from both Stephen Merchant and Shaun Williamson.

Although the comedy is slow and gentle, it does manage to chalk up more hits than misses, and can at least claim to be pretty unrelenting throughout. That said, the end does feel rather damp, with the storyline tying itself up in a neat, predictable little bow almost either side of a single heartbeat. It's that lack of comedy crescendo that just adds further conviction to the feeling that this film is probably just a subdued version of Gervais' original fun-poking vision, watered down to ensure the maximum appeal and the lowest number of cinema-going 'casualties'. And whilst they have undoubtedly been successful in limiting that level of  severe offensiveness, the comedy backbone of the film is just too badly compromised, and the cheeky appeal that comes with a name like Ricky's is all but lost.

The Iron Lady

My viewing experience of The Iron Lady is going to be pretty different to most peoples. I was privileged to be invited by 20th Century Fox to go to the European premiere of the film at BFI Southbank, so watched (and later partied) alongside members of the cast and crew, sharing Vitamin Water and champagne and trying to pluck up the courage to go and congratulate Anthony Head on his performance. But despite all that, the film is what really counts here.

First of all, it's worth dealing with the elephant in the room. I don't know Margaret Thatcher. I have no feelings on her leadership (or her as a person) either way, and indeed many of the events depicted in the film are relatively alien to me; I was 5 when she left office, so anything I do know comes solely as a result of listening to the Billy Elliot soundtrack once too often. Like her time in power, the subject matter of the film has somewhat divided the nation; some see the portrayal of a frail, modern-day Thatcher suffering from dementia as disturbing or even offensive. Personally, I like to see it as a cinematic device that is placed solely to allow a seamless segue through the story in the form of flashbacks - I don't believe that offence was meant towards the still living Thatcher; after all, this is just a cinematic interpretation of true events.

What's especially nice to see is that throughout, attention has been paid to every detail. Indeed, the parliamentary benches run like a game of who's who of British cinema, with well (and less well-) known British faces visible at every turn (John Sessions, Roger Allam, Nicholas Farrell to name but a few - even if you're not familiar with the names, look up the faces). Even the smaller, and non-speaking roles have truly recognisable faces, who don't look out of place in Thatcher's parliament.

Streep, ever professional, soldiers on, unaware of the "Kick Me" sign John Sessions has stuck to her back

For me, the British connection is singularly good to see, particularly given that the lead role, and therefore arguably one of the most internationally famous British women to have lived in the last 50 years, was played by an American. That said, I won't be the first person to tip their hat to Streep. Despite my initial concerns, her portrayal of Thatcher is exquisite (thanks in a small part I suppose to the haunting likeness the team were able to achieve with wigs and make up), and is very much deserving of all the award-hype she is now the subject of.

The Iron Lady readies herself for an almighty game of 'pull my finger'

As a whole, the story seems pretty well constructed. Coming to the film with little prior knowledge of Thatcher or her rule, I was impressed that a healthy balance had been found, without assuming any familiarity with proceedings on the part of the viewer. Looking back however, I can well see how those who were a little more politically aware during the 1980's than myself would be able to relate far better to some of the events depicted in the film. Although the plot could very occasionally drag (and just may have been tightened up by the loss of ten of the less meaningful minutes) the film as a whole feels like a respectful (albeit slightly fictionalised) account of one of the most influential British women of all time.