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Period dramas do seem to be an English speciality and are something that have travelled well around the globe, so this new film from director David Rocksavage set not in the distant past but the late 1960s is a wonderful portal into one small corner of the world then.

It tells the story of Hannah (Jean Simmons) who lives alone in a large house on the Norfolk coast. Retired now and getting along, the house is filled with old books and memories and she seems perfectly happy with her garden, her poetry and a much younger friend called Joe (Jamie Dornan) who visits her to help out around the house, chat to her and bring her cannabis to help ease her aches and pains.

But this tranquil existence is disturbed by Hannah’s visiting son Robert (James Wilby) with his daughter Kate (Ophelia Lovibond) and own son Sam (Toby Marlowe). Robert is shocked by his mother’s actions and her close friendship with Joe and is deeply suspicious of his motives; while Kate simply fancies him and her younger brother Sam thinks he could be a new friend. Tension mounts in the house and things occur that could either bring the family closer together or tear them apart.

Few films actually make you feel good and really involved with the characters therein but this is one of those rare ones. The story, by writer Margaret Glover and Rocksavage himself, is a simple one but culled from Rocksavage’s youth with Hannah based on an amalgamation of maternal aunts and people he knew and the role of Sam loosely based on the director. This semi-autobiographical feel to the film helps in creating a believable mood and feeling for the audience and the great performances only drive the narrative forward. It is stunningly photographed by cinematographer Milton Kam who captures the beauty of the English coastline in an almost magical light in places with the summer scenes often having an ephemeral quality to them. The music composed by Richard Chester also complements the film, and apart from the occasional 60s tune, the soundtrack remains timeless much like its rural remote setting.

The three central performances are all excellent with Simmons showing that despite her advanced age she can more than carry a film, imbuing Hannah with quiet dignity and strength. Dornan as Joe does well in his role as the mystery man who captures not only Hannah’s affections but those of Kate too and it’s good that he underplays his part in places as it could’ve easily become a gypsy cliché!

Wilby proves again to be a dependable English actor and suits his role as the father perfectly while the only slight let down is the rather simple acting of Marlowe as the young son and the giggly girl act of Lovibond. But this is a minor quibble in a film that is at times lonely, poignant and is after all a simple treaty on life and death and the bonds and understanding of a family.

It’s lovely stuff and the perfect way to while away a summer afternoon.

Mark Cappuccio

This documentary about a small Welsh community slowly dying out charts a way of life many will believe has, in fact, already vanished.

From the local school having to close due to lack of pupils, to the travelling library bus arriving with its books with stories of exotic peoples and places, it details the passage of time and the passing of old ways. Unfortunately, director Gideon Koppel, never actually introduces us to any of the people whose everyday lives he follows, and this means there is a sense of distance between the film and its audience.

Also, although the scenes of the local children and the older members of the community are charming, he manages to totally ignore the generation in between – if these kids have parents then we never see them, either at home or going about their business. This means probably the most important link between the past and the village’s potential future is never shown and so the film lacks focus and any distinct outcome.

Dee Pilgrim

The terrible emotional scars left by the Holocaust on those that survived it are explored in detail in this richly emotional, beautifully crafted film by Jeremy Podeswa.

Having seen his family massacred by the Nazis, young Polish Jew Jakob (Robbie Kay) hides in the forest and is discovered and rescued by a Greek archaeologist working on a dig in the area. At great danger to himself, the man smuggles the traumatised boy back to Greece and slowly nurses him back to health, becoming like a father to the young orphan.

The pair emigrate to Canada and it is here that the grown Jakob (Stephen Dillane) finally starts to confront the demons in his past, at first embarking on an affair with the vibrant Alex (Rosamund Pike), before travelling on a pilgrimage back to Greece where he finally discovers peace and a lasting love with Michaela (Ayelet Zurer). However, these later interludes in Jakob’s life are nowhere near as affecting as the scenes acted out by young Robbie Kay – a little boy with huge eyes and a huge talent.  Kay manages to say more about Jakob’s emotional landscape with one look than Dillane manages with whole scenes, and the relationship so painstakingly built between the immature Jakob and his adoptive father prove to be by far the best in the film.

Elsewhere, glorious location work in Greece – all light and air and liquid sunshine – is used as a nice counterpoint to the oppressive atmosphere in the Polish forest and the gloomy interiors of Canada.

Dee Pilgrim

Yet another dysfunctional family goes under the microscope in this movie crammed with big name stars that never manages to live up to its potential.

The action is split into two parts: in the present we catch up with author Michael (Ryan Reynolds), travelling back to the family home after his mother (Julia Roberts) is killed in a car crash; in the past we visit Michael as his spirit is almost crushed by his overbearing, bullying father (a great performance by Willem Dafoe). Then, the only thing that saved him was the support of his feisty young aunt (Hayden Panettiere in the past, Emily Watson in the present) who taught him how to have fun. Can she once again come to his rescue now his beloved mother has died? Or will Michael have to face his father and stand up to him as an equal?

Although there are some nice sequences in the film, with Willem Dafoe truly scary as the dad from hell, Ryan Reynolds, better known for his comedic roles, is too lightweight an actor to convincingly convey Michael’s emotional tics and complexities. So, it is the flashback scenes of young Michael with his mum and dad that prove the most successful, while the modern day passages lack emotional clout.

Dee Pilgrim

Director Renny Harlin isn’t known for his subtlety or finesse – his style tends to be all about relentless, bruising action and energy leading to nowhere – so watching 12 Rounds is a bit like battling it out with Mike Tyson.

It also happens to star this year’s slice of beefcake in the shape of pro wrestler John Cena, who certainly has the rippling muscles, but his acting ability is of the distinctly amateur dramatic variety.

The storyline is a no-brainer: New Orleans Police Officer Danny Fisher (Cena) manages to apprehend top criminal Miles Jackson (Aiden Gillen) after a heist. Unfortunately, Miles’ girlfriend is killed in the bust and he vows to wreak revenge on Danny for her death. Danny thinks no more about it until Miles breaks out of jail and kidnaps Danny’s lover Molly (Ashley Scott), threatening to kill her unless Danny can complete 12 seemingly impossible tasks in a limited timeframe. Thus, the action is full-on as Danny must rush about town in an attempt to get to Miles and Molly before she dies.

From exploding houses to out of control trams, plunging escalators to hijacked helicopters, John Cena sets his jaw, works those pecs, leaps off buildings and jumps out of cars in a valiant effort to save his girl. However, he really can’t save the movie, for although the action is impressive, you won’t give a damn about Danny, Molly or Miles, as they are two-dimensional characters without any depth or personality. The reason why the Die Hard movies worked so well is that you actually got to know and like Bruce Willis as John McClane; here Harlan concentrates on his special effects and stunts to the exclusion of all else and the movie suffers as a result.

It’s certainly explosive, but about as memorable as a car backfiring in the street.

Dee Pilgrim