“I’m not mad on confident people. I can’t imagine myself ever making the Bon Jovi story.”

“in this film you won’t find a cross-dressing Ken doll, or wise-cracking, leery sidekick”

This film wants to be as deep as each and every character we encounter

Using a mix of archive news footage, home movies and Sebastian’s own narration, the film was meant to be a humble and personal portrayal of Columbia’s political history.

You would be hard pressed to find a worse reason to remake a film than Gus Van Sant did in his revival of the classic horror flick Psycho. Remakes generally find their way into cinemas on the back of huge film studios believing that there is potential in bringing the originals to a new generation. Inept scriptwriters and shoddy directors generate millions at the box office with the slightest effort, as seen with recent shambolic revivals such as Clash of the Titans.

Withnail has such an incredible life; ‘Look at him’, you think, ‘He’s having such a good time’. There really is no better advert out there for chain-smoking alcoholism than Withnail. An inadvisable drinking game states that the players must match Withnail drink for drink. It’s impossible. In the course of the film he drinks nine glasses of red wine, six glasses of sherry, one pint of cider, one pint of beer, two shots of gin, thirteen whiskeys and a shot of lighter fluid.

Picture the scene: It’s 10.30pm on a Saturday night and I am surrounded by glitter, false eyelashes and the distinct smell of hairspray; as a marvelously glamorous sequin-clad drag queen takes to the stage, welcomed by the rejoicing roar of an eclectic crowd of bourgeoisie zombies and blood-splattered doctors. One might be excused for assuming that what I am describing is a nightmarish Halloween night on Canal Street, that, however, is not the case.

Taking its inspiration from Marks’ 1996 autobiography of the same name, Mr Nice is unsurprisingly reverential and seems reluctant to ask any real questions of its protagonist. Most crucially, by presenting Marks as ‘Mr Nice’, the film fails to explore the moral dilemma inherent to his profession. Instead, Rose’s script opts for a rather shallow pro-legalisation, pro-Marks stance which ultimately suggests, to quote one glib piece of dialogue, that ‘it’s the law that’s wrong’.

In typical Burton style, stripy socks, unnervingly twisted flash-backs, and Helena Bonham Carter are in abundance; (no one could mistake this for any other director), and Tim makes the almost unforgivable mistake of detailing the ending at the start of the film.

Zuckerberg came up with the notion at Harvard and launched the primitive website from his dorm room. Weird to think; that something that has become a scarily large part of everyday life for 500 million people, was started in what a lot of first years are experiencing now: a room where old beer cans used as ashtrays are literally heavy with cigarette butts, where old orange skins cling to the bottom of waste paper baskets and where blackish grime and bits of indefinable matter stick to an unwashed bowl on your desk. Maybe it’s different at Harvard, but it’s still a fairly novel (if disgusting) notion.

Since John Cusack made his name as the face of the 1980s teen rom-com, it is fitting that Grosse Point Blank is, at its heart, a high school movie. Martin Blank, (Cusack), is a hit man facing something of a midlife crisis; he has recurring dreams of his prom night sweetheart; he no longer derives satisfaction from his job; and he’s being pressured to join a union (yes, apparently professional killers have those), led by union chief Dan Aykroyd.

‘Anatomically correct blow up sex doll’ and ‘heart rending tearjerker’ aren’t usually phrases that appear in the same sentence. This film, however, somehow manages to seamlessly entwine the two and sit them together as naturally as emos and Twilight.

Ah, the cinema; the student’s official alternative to getting completely smashed all the time. For those of you waking up on the floor fully-clothed with chips and cheese all round your mouth, (only to be told that in a few hours you will be repeating the experience), you might just consider attempting to persuade your mates with these great cinemas and offers instead. Just make sure you don’t see Requiem for a Dream. It’s not hangover material.

It is said that Bill Murray likes to sneak up behind strangers in New York, whisper, “Guess who?” and, when they turn around, tell them: “I’m Bill Murray. No one will ever believe you.” This would not be funny in a club, in Sainsbury’s or on campus, nor is it a good way to meet strangers.

Cheesier than cheddar, the old ballet-meets-hip hop story is given a new edge on the sparkling London backdrop. Granted, it’s not quite as glamorous as the Step-Up franchise, but a subtle British influence, (from Union Jack t-shirts to the music featured), adds a certain charm.

It reminded me of Brick in that she spends most of the film finding things out. Just going door to door, piecing stuff together. The gruff, mumbling neighbours she demands information from have an untrustworthy air about them, but despite feeling like a borderline horror, it’s more of a slow-moving dramatic detective movie. There isn’t really anything like it.

1) City of Angels – Nicolas Cage plays an angel who falls in love with Meg Ryan. It actually sounds a bit comical. Trust me, it isn’t. The bicycle scene, combined with Sara McLachlan’s ‘In the Arms an Angel’ is the most depressing thing that you’ll ever see. Or hear.

2) Beauty and the Beast – A tale as old as time, a song as old a rhyme – it gets me every time.

Kazuo Ishiguro’s novel of the same name reads like a film, so it seems completely logical to copy and paste the story onto the big screen. Time Magazine might have gone a bit off the rails calling it ‘the best book of the decade’, but it’s definitely film worthy.

The original 1930s King Kong is an hour and a half, and even that feels like it’s dragging in some places. It’s a very thin concept; a giant monkey on an island. You certainly wouldn’t have thought that it needs to be three hours. Apparently Peter ‘I’m not going to edit any of my films’ Jackson thought otherwise.

Many of you out there will believe, as I do, that awarding a piece of work three stars is highly frustrating. This magic number is inoffensive, uninspiring and tells the reader nothing of the subject matter. However, The Town may just be the exception; it conjures up enough brilliant moments and frustrating plot devices to be truly worthy of an average review.