Packaged in an extreme fictional tale, the film explores very real biological research and phenomena, such as gene splicing, sequential hermaphroditism and sex pheromones but in this admirable accomplishment lies its main problem. This is a film about ideas.

It’s frustrating because the ideas are such good ones, however daft they might seem at times, and they would have much more of an impact if more attention was paid to applying them to a tighter story. A key element is the loneliness and frustration of the out-of-place Frankenstein’s Monster but this isn’t adequately explored and not enough is done to evoke sympathy for the poor critter.

Natali surely won’t be able to play on his Cube credentials for much longer but at least die-hard sci-fi fans should fine some reward in his latest creation.

So we have the main characters, carefully programmed with a quirky formula, wound up, and let loose to see how they interact. Needless to say, strained family relationships lead to significant character tension, without as many laughs as you (or the filmmakers) might expect but steadily build towards a satisfying conclusion. There’s quite a lot crammed in to 100 minutes of what feels like a condensed TV drama offshoot of Desperate Housewives but it is fun and charming enough.

The cast is good, especially considering the small-scale, $6m, production, leaving you wanting to see Andy Garcia in more light-hearted indie comedy roles and Julianna Margulies in more, well, roles. Emily Mortimer is welcome support, as ever, and maybe Alan Arkin is given so little screen time because he’s so good at doing his thing that if he had more he just might have stolen the show.

The new beau is clearly tremendous in bed because Thomas’ character falls giddy in love with him after little more than bonking left right and centre. Their relationship, or what we are shown of it, is about as deep as a puddle and as romantic as gum disease. As a result, and surely contrary to the hopes of the director, it is very difficult to sympathise with the protagonist.

There appears to be a belief in some areas of the British press that foreign-language films are, in the most part, beyond reproach. But Leaving offers little and most audiences hoping to find another gem like I’ve Loved You So Long will be left very disappointed.

Flimsy psychology abounds and there is some very convenient narrative Polyfilla, such as killing yourself in a dream to wake yourself up (nice) no longer being the case when that would just make things too easy. But the bigger picture, of entering dreams, and dreams within dreams, and dreams within dreams within dreams, to extract information and then, much trickier, to implant ideas, is truly compelling. In lesser hands it could very, very easily end up being a tangled mess but the film is lucid and avoids any major plot holes.

Nolan is using his power for good. He has taken a concept the likes of which have traditionally been found only in low budget sci-fi and transplanted it in to a high-octane, big budget mainstream movie, challenging the audience and demonstrating that blockbusters need not make concessions for morons.

With such a wildly kooky concept, the filmmakers gave themselves an admirable but difficult challenge and events aren’t always clear inside a sometimes convoluted story. But this is largely forgivable and it is worth the effort because the story is so original and funny, featuring interesting characters and sharp dialogue inside an intriguingly undefined, surreal world.

The cast of mostly relative unknowns is very strong and the cinematography is also surprisingly impressive - this is a film that certainly wouldn’t feel out of place in the multiplexes. And although it won’t be found in any multiplexes or, indeed, most people’s local cinema, this is a rewarding film well worth hunting down.

The Blug’s top five films of 2010 pt.1, in no particular order, are Micmacs, Bad Lieutenant, Ponyo, Dogtooth and Kick-Ass. All really tasty slices of entertainment. But even these great films aren’t quite the classics I would hope to see topping the list at this point of the year.

Looking forward, there are a few exciting prospects on the horizon and in the latter half of the year the most anticipated films are Chris Nolan’s Inception, Get Low with Bill Murray and Robert Duvall, foreign language Academy Award winner The Secret In Their Eyes and Edgar Wright’s wonderfully stylised (if the trailer is anything to go by) Scott Pilgrim vs. The World. Bring ‘em on.

The script is rich, intricate and original but there are a few problems. Character development is so subtle I’m not even sure there’s development at all at times, rendering some events unnecessary. It is also repetitive and confusing at times with Stiller’s character flipping out before apologising and making everything OK. Until the next time he flips out. And the cycle repeats itself. Without giving too much away this contributes to a slightly unsatisfactory ending.

Greenberg is nicely shot and edited and successfully creates some incredibly awkward, uncomfortable moments for the viewer. While not everyone’s idea of fun, this rare trait is the film’s biggest achievement. A difficult but decent movie.

Rec 2 is more of the same and loses out on the strongest point of its predecessor—originality—but it makes up for it by offering a more intriguing story with interweaving plots and a nice twist at the end, especially nice for those familiar with the first film. For the most part you don’t need to be familiar with what has gone before (Rec 2 takes place straight after the events of Rec) although it does help and the final 20-minutes might seem to have come out of nowhere if you’re not. The filmmakers probably could have done a little more to make this more of a self-contained movie.

Following the grand horror tradition the film is still full of absurdities but if you can let them wash over you you’re left with a pretty good, certainly above-average, horror flick.

For those familiar with Herzog and his work, it should come as no surprise that this isn’t a typical crime drama. It’s nuts, in fact. A riot. A joyride that is as insane as its lead character. From prolonged close-ups on iguanas to break dancing souls to elderly ladies aggressively threatened with a magnum it is as hilarious as it is dark.

Nicolas Cage puts in the most exhilarating acting performance of the year and his best since Adaptation. Following Kick-Ass, this is further evidence that he’s back in full force. But without Herzog Bad Lieutenant would still, probably, be run-of-the mill. He lives on another planet. And I want to visit.

The four central characters, and the scattering of support, for that matter, are the highlight; well formed, distinct and mostly interesting. But, beyond the tantalising concept of bumbling Islamic terrorists, there is a basic plot around which a story of little substance is wrapped. The film isn’t controversial and Morris agrees with that but it could and even should have been. That, Morris doesn’t agree with. But, surely, the subject of violent fundamentalism (associated with a particular religion or not) could have been pushed and explored further both for greater comic and thought provoking effect.

I can’t help but feel there is substantial deference for Morris and, accompanied by three other very well respected, very talented writers, Four Lions should, by all accounts, hit the mark. Instead, it’s a forgettable, lightweight, disappointing miss.

Like most films, at the heart of its success is a cleverly written twist-laden script but the direction (by the same dude, J. Blakeson) is also impressive, successfully depicting tense situations in a claustrophobic environment. It’s worth mentioning that it’s well acted, too, which is quite essential given the tiny cast. Gemma Arterton steps out from her usual I-am-here-for-little-else-than-to-look-pretty roles and does a fine job. Crying. And screaming. And things.

Alice Creed isn’t groundbreaking by any means but it is a well made film, all the more impressive given the limitations involved.

Winner of the prestigious Golden Bear at the Berlin Film Festival, The Milk of Sorrow (or La Teta Asustada, literally “The Frightened Teat”) tackles some dark issues surrounding modern attitudes and repercussions to recent troubles in Andean Peru. It isn’t enjoyable but it is intriguing and there are, although they seem relatively insignificant, technical aspects to admire such as fine acting performances and strangely attractive brutal landscapes.

The provocative film left me uncomfortable and confused. Far from a negative, it was motivation to alleviate my ignorance and find out more about the troubled background behind the story.