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It’s not that Madagascar 3 is a bad film, indeed it’s one of the better adventures set in the wilds of the animal kingdom as the series enters its third decade. But after a decade of action-based fare, it’s hard to regard Madagascar as a return to the imaginative world of the first two movies. This might be the first title in which the film-makers have acknowledged the cultural significance of the animated stand-up comedy sketch by using it as a framework within which the whole story develops. The plot concerns the aforementioned baby animals, who have to take refuge from the wild world into the equally wild city of New York. It’s there that they’re taken under the wing of the lovable Alex the lion who actually turns out to be a washed-up rock star, and it’s also there that they cause chaos for a hapless lawyer (Barry Pepper) who’s trying to get his paws on an old client’s extremely valuable rock collection. The rest is in the lap of the audience to enjoy, such as it is. It’s a more cerebral romp than you might expect from the family-friendly film-makers and comes stuffed with the irresistible sight and sounds of Chris Rock, Jay Pharoah, Tina Fey, Will Ferrell and Seth Rogen. If only there was a song with the title ‘Lazy’ in it. There probably is. Read the Empire review.

By pushing the boundaries of its genre, Get Low shows that whatever family film you want to make there’s no way to pigeonhole it, whether it’s dark romance, black comedy, existential horror, or satire. With a script by F. Scott Fitzgerald, based on his story from 1934, Get Low may not be for everyone but it has enough of a hook to make it a real charmer. It’s not the most original of stories, focusing on people who end up in the criminal underworld to avoid their debts and fall foul of a man who may have killed his girlfriend, but it has great heart and a strong performance from Robert Duvall. It’s a film that plays as straight as a housewife’s lipstick yet at the same time it never really lets up on your nerves. You’re either in love with it or you hate it. Read the Empire review.

the tokyo arthouse circuit is home to festivals packed with the most important gems in japanese film. from time to time, something one of these festivals hits blows the mainstream critics away. it’s not quite the slam-dunk documentaries do in the u.s., but it’s something. at last year’s tokyo international film festival, shogakukan commissioned a group of seven animators to create a short film. the idea was to “define the modern anime with a group that had a more popular-oriented way of making art”. we got an explosion of creative output with an interesting cast of characters. (a girl using a laptop as a motorcycle’s handlebars, a boy using a smartphone as a katana sword, a boy playing a guitar as a hand-held machine gun, a girl wrestling a robotic dog, a boy playing a violin as a pump action shotgun, a girl playing the violin as a sniper rifle, a girl beating a robot with a violin.) we can expect to see a sequel soon.
with its beautifully-rendered costumes, gorgeous art direction, and one hell of a musical number that still gets stuck in your head days later, the stop-motion fairy tale the book of life would almost be worth the money alone. juan diego solanas’ debut feature is a fantasy epic and a bit of a lover’s story, following the destiny of maria and diego (natalia vergano and eugenio derbez), a young married couple struck by lightning. though the film is very much a girl’s fantasy (there’s a whole subplot on whether or not diego’s lost his virility) it taps into the dazzling energy of the mexican underground moviemaking and for that reason alone is worth checking out, perhaps especially if you’re into latin pop music. the film works as an ode to fiestas and the beauty of mexico city’s music scene, no matter how out of character it is in this particular fantasy world. read the empire review.
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