Full of burnt oranges and dramatic fuchsia block dresses Nicoll’s collection is set to fly of the rails, in addition to these are Nicoll’s eye catching short blue mini dress and oversized blue silk dress, adding some different tones to his collection as well as a bit of glamour.

Nicoll gives his new supporter a nod ‘NET-A-PORTER.COM is brilliant on so many levels’ he stated. “It’s the focused buying, the incredible brands, the high volume orders, and it exposes us to global markets that we may not be able to access through stores.”

From early critic reports the collection is set to be a big seller for both Nicoll and NET-A-PORTER. Visit www.net-a-porter.com to secure your favorite pieces now!

This is not to say that the film doesn’t have its moments of chill. Sure the initial set-up of Nicholas Hume’s (Kevin Bacon) acutely ordered family and working life is overplayed, but the incident that flips this world is genuinely shocking for its nihilism and easily connects on a base level. It’s this level of casual, senseless violence that’s true to any urban setting.

Unfortunately, it’s very easy to jolt the audience when the director sets up such extreme contrasts and from this point on everything from the acting to the knife to the eye thematic subtleties are so extreme it’s nothing more than tawdry melodrama. It should come as no surprise that at the head of this project is ‘Saw‘ helmer, James Wan, who managed to take a visceral and clever concept in that film and almost throw it away with the same flashy heavy handedness he elicits in this film.

The usually excellent actor Kevin Bacon loses any credibility as he wallows in the grief at the loss of his ‘golden boy’, neglecting his surviving son to unrealistic levels. A better director would have reined this in. Instead he seems to revel in Bacon’s transformation into a ghoulish skinhead. The remaining performers rank from Kelly Preston’s bearable to John Goodman’s laughably, scenery chewing bad though I suppose there’s some pleasure to be had in that, considering the overall B-movie schlock values of the film.

Admittedly some of the action sequences are rather exciting, especially the Home Invasion sequence late in the film that once again has the ability to shock. There’s a loose, handheld feel to every beat, less set-up, more surprise as if the choreography is always a few seconds early which is why it’s frustrating when Wan punctuates the scene with a truly awful choice of music on the rock soundtrack.

It’s even more irritating when this same organic style of action is seen again in the climax as Bacon storms the bad guy’s hideout, recalling, momentarily, the direction of Peckinpah (and I emphasise the momentarily). It’s very odd that a director who in one hand seems happy to indulge the cheap tricks of MTV style editing, yet can reject this with the other and shoot a gunfight on open ground in only a few shots.

Unfortunately for Wan (at least in terms of his self-esteem), all his efforts are capped with an absolute clanger of a final line from Bacon’s nemesis and what little respect you have left for the film flies out the window, along with subtlety. Please, can we call for a moratorium on the vigilante movie; it’s as dead as the victims it purports to empathise with.

On the surface Penn has struck gold with this stirring and inspirational tale. It’s quintessential Americana. Adapted from the book by Jon Krakauer that recounts the true story of Christopher McCandless (Emile Hirsch), fresh out of college, qualification rich, a future littered with unlimited potential. And yet he gave everything away to strike out on a Kerouac dream of wide open highways all the way to the wilds of Alaska. Two years after beginning his journey he was found dead from starvation in the run down bus that became his home.

Utilising a loose, almost patchwork film narrative, Penn moves back and forth between scenes in Alaska, McCandless’s journey and flashbacks to his rather acrimonious home life. It’s both a recollection of the 70s aesthetic that defined cinematic rebellion and a potent technique for an examination of the themes of family, ecology, capitalism and the degradation of the American spirit.

There is an opportunity for a fascinating character study here with McCandless’s rejection of possessions not simply covering the material, but also those of identity as he cuts himself off emotionally and changes his name to Alexander Supertramp. It’s both a literary and psychological choice and connects with his dismissal of family; a judgement so severe and strange when you consider the love that he clearly has for his sister, a recurring character in didactic voiceover.

There’s also the lofty transfiguration of father, God and nature, as he escapes one, and finds the other, at least in some form. There’s a cruel irony at work in that while the landscape offers freedom, it too is a father, ready to educate and inspire while at the same time punishing just as cruelly as one made of flesh, as McCandless so tragically discovers.

And yet these are more observations than anything suggestive of McCandless as portrayed here. While he meets a variety of characters on his journey, from the hippy duo (Catherine Keener & Brian H. Dierker) that along with their Slab City encampment personifies the fading memory of some free America to the lonely retired soldier (brilliantly realised by Hal Holbrook) who attempts to impart some wisdom on the young drifter there’s no sense that he has developed as a character. Remaining resolute in his questing for Alaska to an almost obstinate level.

In fact Penn seems so in love with the character he comes close to canonizing McCandless, showing both in word and action an almost preternatural ability to touch others to such an extent that they are changed irrevocably. In elevating the character in such a way the story becomes a form of odyssey, turning richly idiosyncratic supporting characters into dull archetypes or echoes of his life at home, be it the fraternal banter he shares with the larger than life Wayne Westerberg (Vince Vaughan) or the frail maternal bond he shares with Jan Burres (Catherine Keener).

While Emile Hirsch certainly captures the obviously charm and intellect of McCandless, his portrayal is all but impenetrable making it difficult to see his whimsical and often downright selfish utterances as anything more than youthful folly. Rather than dig deeper and cement any truths, Penn seems happier in his idyllic, almost edenic interpretation of the American landscape, accompanied by the apt, yet turgid folk rock of the soundtrack. Depicted in long languorous and often strikingly beautiful shots, the country is fiercely contrasted with the hellish, claustrophobia of the city as if to shriek, ‘right there, there’s the justification for all of this.’

It seems strange then that after so lovingly creating this pean to the cinematic McCandless Penn ends the film not on the luminously pale and shrunken face of Hirsch, but on the very real and far more haunting face of the actual Christopher McCandless. Taken from an undeveloped roll of film found at the site of the tragedy, in this single shot another film of both greater complexity, and emotional truth speaks to us and it is a shame that in attempting to pay proper tribute to McCandless, Penn highlights the very flaws that makes his film fall short of just that.

It’s astonishing to think that a group of studio execs finds this man funny enough to still be constructing a movie around him. And that’s really the level of filmmaking going on here. Taking the worst elements of the previous two films, the mindless misogyny, lazy racial stereotypes and slapping on a plot that barely makes sense let alone lasts a standard running time.

What’s worse, the filmmakers are so confident that nobody will care whether the story about the selection of the next Triad leader and the attempted assassination of Chan’s friend, the Chinese Ambassador makes sense that they throw in plot contrivances seemingly at random; a clichéd French cabby transformed into a last minute saviour being the worst. Anything to keep the plucky duo out of harms way and back into another ego-driven skit about what a pimp Tucker is.

Alas, though the law of diminishing returns ensures this will never be as good as the first two entries in the series, this has always been a poor mans ‘Lethal Weapon‘, falling short of the anarchic humour, buddy dynamics or truly exhilarating action sequences. And while the ‘Lethal Weapon’ films were hardly the height of realism, at least there was some sense of danger, an understanding of the violence inherent in such pursuits. In ‘Rush Hour 3′ all logic has taken a back seat, switching from overly cute choreographed sequences in mysteriously empty hospitals, hotels or an unguarded Eiffel Tower to sluggish and uninvolving acrobatics from Chan who has become little more than a broken Buster Keaton.

And that’s really the saddest testament to the franchises declining powers. That one of the most exciting and energetic performers in cinema is reduced to this; playing second fiddle to an obnoxious second rate movie star. Even though Chan still looks in better shape than the plump Tucker, there are moments where the edit seems to be hiding what in the earlier films left brilliantly exposed in wide shot. Hopefully, he still has some great movies in him, but it’s certainly not in dirge like this, especially when a film listed as a comedy, has its funniest moments in the outtakes after the feature has finished.

What’s interesting about the film is its refusal to wallow in the usual hyperbole of Hollywood biopics and while no doubt thrilling representations of history, films like ‘Braveheart‘ and ‘Alexander‘ are often weighted down by the egoism and familiarity of their lead actor. Less the star disappearing into the character, and more a case of the character disappearing into them.

With Mongol, it is the essence of the great Khan that shines through, both Odnyam Odsuren (showing impressive maturity as the young Temudjin), and celebrated Japanese actor Tadanobu Asano (as Temudjin the elder) embodying the man with a quiet nobility that feels wholly believable.

In fact as much as this is a movie filled with mythic resonance from the lightning representing the Mongol God Tangri that punctuates critical points in Temudjin’s life, the selection of his bride Borte, the graceful heart of this story, to the union of blood brothers and the tragic fracturing of these ties in the final battle, this feels more of a documentary at times than structured movie, unfolding episodically, with a natural repetition and showing in impressive detail how this spiritual people lived, warred and loved on this unforgiving, yet beautiful landscape.

And what a world it must have been and still is, in part, today. With just the right amount of computer trickery and fantastically conceived cinematography, the filmmakers have painted a forbidding, alien world. With vistas that could make David Lean weep, all the grass plains, cracked river beds, deserts and chilly mountain crags are on full view here and for that alone this film deserves high recommendation.

Like the great Westerns, environment is fused with character, and unlike the films mentioned above, loyalty is not so easily found amongst the people of the steppe. To be Khan is to also know how easily it can be taken away and as Temudjin’s father realises early in the film, there is a harsh reality that tempers the warm glow of movie cliché that even the best biopic suffers from.

Fortunately, while similarly flawed, Mongol more than once rises above the simplicity of the Quest story and thrills us with a spirituality, connection with nature and down right rousing battle scenes of scything horsemen, bait and switch tactics and blood that makes you long for the sequels this film sets up.

Thomas Wayne was shot alongside Bruce’s mother by a robber when he was a you boy, this was the catalyst that drove Bruce Wayne to become the vigilante crime fighter Batman.

In the final scene of the comic, Hurt is trying to escape by helicopter after shooting Batman, but the wounded superhero throws himself at the helicopter causing it to crash.

This would seem to signal the end of Batman, but the story ends without showing Wayne’s body.

Scottish writer Grant Morrison said earlier this week: “This is the end of Bruce Wayne as Batman. But, like I say, it’s so much better than death.

“People have killed characters in the past but to me, that kind of ends the story. I like to keep the story twisting and turning.

“So what I am doing is a fate worse than death. Things that no-one would expect to happen to these guys at all.”

Morrison would not reveal who would be taking up the role of the new Batman but characters at the forefront are Tim Drake, who has been Robin since 1991, and Dick Grayson - the original Boy Wonder - who now protects Gotham City as Nightwing.

It goes to show that not all superheros are invincible, this was proved last year when Captain America was killed off after being shot by a sniper.

Superman’s death in 1992 at the hands of Doomsday became the biggest selling Superman comic in history. He was later resurrected.

“Using science which we mere mortals cannot even understand, the Eradicator put Superman in a Kryptonian rejuvenation matrix that massaged him back to life,” said DC Comics editor Mike Carlin, explaining the hero’s return.

What do you think? is Bruce Wayne going to retire as Batman? If so who will take over??

After a lot of extremely stressful deliberation of what to be slipping on of a Saturday eve (whilst watching Xfactor) battling between the classic LBD (a staple in any wardrobe) and the almighty ‘hold it all in’ body-con, I’ve managed to settle for the best of both worlds in Miss Selfridges ‘Little Black Body-Con!’ and at just £40 it is now sitting pretty in my wardrobe with no added sense of guilt!

In looking around I’ve spotted loads of the best party dresses just in time for Christmas!

Topshop’s introduction of outside designers have proved well in allowing these creations by Alice Mccall to hit our high streets! I’m slightly in love with this contrasting black, grey and apricot panel body-con currently in store, adding a little bit of different colour to a classic, as well as popping on some bright shoes and eye make-up like these!

With the biggest colours of the season being purples and plums I’m after these gorgeous Steve Madden Platform T-bar Sandals from ASOS! Combining two of the season’s hottest colours I love them!

Set in the dramatic art deco styled RHS Lawrence Hall, London, this year’s British Fashion Awards was awash with gold glamour and dazzling Swarovski crystals, gathering this years fashion elite to celebrate the talents and achievements of the British fashion industry.

Compered by Mariella Frostup the awards were handed out to eleven deserving winners, with helping hand from Claudia Schiffer, Jefferson Hack, Lord Coe, Christian Slater, Rosin Murphy, Alex James and Erin O’Connor who guest presented.

The biggest newcomer of the night appeared to be Jourdan Dunn. Who pipped Agyness Deyn, the hot favourite, to the post of Model of the Year. After being discovered at just fifteen in a local Primark, Jourdan has since taken part in an impressive seventy five shows world wide as well as gracing the cover of Italian Vogue in this June’s black issue, and is still just eighteen.

Other big winners of the night were Louise Goldin an exciting new designer winning the Swarovski Emerging talent Award for her ready to wear collections, As well as Nicholas Kirkwood securing Swarovski’s sister award for accessories design.

Designers were then honoured with the award of ‘Designer Brand’ being deservedly taken by Jimmy Choo for it’s burgeoning power within the industry and its global success, As well as Matthew Williamson taking home Red Carpet Designer, given for his creation of glamorous evening wear looks and couture collections.

Christopher Bailey (for Burberry) then secured the award for menswear designer for his bespoke tailoring and ready to wear collections within the industry. This was followed by Richard James winning the first bespoke award for his significant contribution to an important sector of the industry.

The Accessory designer of the year, celebrating influence and growth as a designer went to Rupert Sanderson. With Tim Walker then taking home the Isabella Blow award for Fashion Creator, recognising Walkers roll as an image maker in inspiring and influencing the industry.

The penultimate award of the evening was that of the BFC award for Outstanding Achievement in Fashion Design, this belonging to no other than Stephen Jones, recognising his on going contributions as an established designer.

But last by most certainly not least was the final award. The buzz surrounding Luella Bartley proved most deserving, helping her to take home the most prestigious of honour, Designer of the Year.  This recognising her last two critically acclaimed collections. Sending the world literally mad for a little bit of Luella!

The award celebrates Luella’s creatively different and quirky styles including her 1999 ‘Daddy I want a Pony’ and ‘Daddy, Who are the Clash?’ collections, incorporating British themes and her edgy rock and roll influences. These included models taking to the runway in Graffiti dresses, causing the fashion world to look up and take notice and securing Luella’s place on the international radar. This then lead Miss Bartley to develop her own collections before designing for Mulberry, giving her real big break.

Bartley’s honour as Designer of the Year comes after a busy year revealing two brand new collections as well as opening her first flagship store in London’s fashion conscious West End, coming a long way from her starting point at St Martin’s.

Now securing many A-list fans such as Cate Blanchett and Chloe Sevigny and proving popular within the fashion pack, Luella is set to stick around!

Hey, wasn’t Casino Royale good. An accomplished reboot of a stale, campy franchise that managed to retain enough of the humour, sex, and spectacle from the classic Bonds while introducing a new, grittier, more grounded 007 in the crystal blue and granite shape of Daniel Craig.

I say again, wasn’t Casino Royale good. Yeah, keep reminding yourself of that because at no point in the 106 confused minutes of this now unsubtle homage to the infinitely better Bourne franchise will you find one iota of the fun you had with the previous film.

Now on the surface this isn’t particularly fair, the filmmakers clearly positioning Quantum as an extended, and very brutal epilogue to Casino and thematically the structure makes sense. In essence it’s a bloody final act of revenge, driven with blunt force trauma. In a perfect world this would all have worked. Unfortunately as two separate films, it doesn’t.

Ignoring the fact that some of the less cerebral audience members will have forgotten most of the important plot details and characters from the first film, there’s still a chance they could have made this work if they’d only carried across the template from the first film. The action heavy nature of the revenge theme could have supported the plot, suffusing the myriad sequences with the same clever character details and plot elements as in Casino, unfortunately the template isn’t and so it can’t.

Instead of unique twists on staid scenarios it’s opening car chase followed by rooftop chase, then boat chase and oh look there’s a plane and so on, as per the pattern; cue the yawns. Not that the action is terrible, a savage fight in a Haiti and a tussle on ropes helps ease the pain caused by some of the miserable editing in other sequences, it’s just firstly a crushing disappointment from what we’ve come to expect and secondly a major stumbling block to our understanding of the film.

Potentially the introduction of Spect..I mean Quantum is one of the better franchise conformities. Unfortunately it demands a more epic storytelling approach which the few minutes between action sequences can’t provide. Instead of building towards a dramatic and exhilarating clash between Bond and his nemesis, one worthy of the wonderfully malignant Mathieu Almaric, we get a rather limp encounter that has little substance because we’re too dizzy from all the ‘strang und durm’ that precedes it. The fact they name this villain Greene actually mars the first film because while before Mr White felt like a cute affectation, now it feels part of some kitschy reprise of older, less successful Bond villains. And if you’re going to incorporate a more mysterious, global spanning organisation, why burden it with an ostensibly pedestrian motivation about water. It’s like they took the more grounded approach of Casino and drove it right into the earth.

In fact while the first film felt like a near perfect balance of old and new, this new film feels like a lazy, arrhythmic back and forth between elements of classic Bond and a mishandling of the best parts of the reboot. And what’s worse, when one or two of these older homages are better than the new stuff, you know you’re in trouble.

The best example of this being the difference between the two Bond girls. Strawberry Fields (a surprisingly mature performance from Gemma Arterton) is classic Bond, both in name and persona. She evinces just the right amount of flirtation and fun, acting as a contrast to the harsh, unmalleable force that is Bond. And even with the rather cheesy Goldfinger homage she not only brings much needed humour, but in her demise, also provides some much needed characterisation for Bond. Kurylenko’s Camille is the exact opposite; ice cold, and like Bond, driven by revenge. She is in short Bond’s double, and because of that feels utterly superfluous, simply a lazy reversal of the misogyny of previous Bonds, needing little help from Bond to complete her own personal mission.

Craig on the other hand is the one true beacon in this schizophrenic mire. Battling against a script that attempts to turn him into a soulless terminator, ignorant of friendship and devoid of emotion; a terrible Bond theme, more a commercial cacophony by two mismatched artists than an ode to the character; and finally ill judged direction from Mark Forster, whose constant bizarre crosscutting nearly turns the film into a farcical melodrama, Craig survives pretty much unscathed. He ends the film with poise and an intense charisma, a perfect mix of Connery, Brosnan and Dalton without feeling mere composite. Unfortunately he also leaves it relatively unchanged, but again the fault lies with the writers who seem more concerned with filling Bond’s mouth with even more of the clunky dialogue he suffered through in parts of the last film.

The script is just one of the many signs of renewed producer interference and if Broccoli and Wilson aren’t careful, just as with the Brosnan era (through no fault of his own) they’ll come close to finally putting the nail in Commander Bond’s coffin and eradicate what little grace this once again faltering franchise has left.

The Stone Roses - The Stone Roses - Monday 1st December

Rage Against The Machine - Rage Against The Machine - Tuesday 2nd December

Pink Floyd - Dark Side Of The Moon - Wednesday 3rd December

The Prodigy - Music For The Jilted Generation - Thursday 4th December

Previous albums that Lowe has chosen include Radiohead - OK Computer, Public Enemy - It Takes A Nation Of Millions To Hold Us Back, The Libertines - Up The Bracket, Guns N’ Roses - Appetite For Destruction, Nirvana - Nevermind, ArcticMonkeys - Whatever People Say I Am, That’s What I’m Not, The Strokes - Is This It and Led Zeppelin - Led Zeppelin IV So tune in to BBC Radio 1 on 1st December or head to www.bbc.co.uk/radio1

The Jacket: Completing your party look, a sequined embellished jacket (£140) is perfect for keeping Jack Frost off your shoulders, whilst still looking gorgeous.

The LBD: At £110 this little strapless number will serve you well for the whole season, with the perfect shimmer and gorgeous front pleat under the bust. Dress this one up with stunning jewels, keeping it simple with a stunning vintage brooch necklace at only £35.

The Bag: The satin bow bag (£45) has been a staple for the autumn and with a whole host of high street stores stocking their shelves with these gorgeous clutches, the clutch is here to stay.

The Shoes: Platforms and studs - you can’t go wrong with these, and French Connection deliver with these fantastic heels at only £100.

The collection will see Williamson debut his first ever menswear pieces, this is one event not to be missed. The capsule collection will be launched April 23rd, with an exclusive women’s range, and continued in mid-may with the perfect summer pieces.

“It is an incredible opportunity to be working with H&M, creating a ‘Matthew Williamson for H&M’ capsule collection. I love the fact that H&M have created a new phenomenon in fashion through the pioneering concept of collaborating with high-end designers to create one-off limited edition capsule collections. I am thrilled that my creations for H&M will be accessible to and hopefully enjoyed by so many people around the world,” says Matthew Williamson.

Creative advisor for H&M, Margareta van den Bosch announced; “Matthew has such a good eye and a way for working with prints that he mixes up in a new way. When he combines these things, you get a very contemporary London look. It’s for people who want to look special, but his clothes can also be worn in a nonchalant way- you can really play around with them. He is fantastic with piling on colour - it’s a very stylish collaboration for H&M, and very much in line with the way we’re thinking about fashion for spring/summer.”

The designer is known for his lavish shows,bursting on to the scene in 1997, with models like Kate Moss, Helena Christensen and Jade Jagger parading his styles down the catwalk. Now showing at the prestigious New York fashion week, the designer has even been honoured with an exhibition at the Design Museum in London - “Matthew Williamson - 10 Years in Fashion”.

Cheryl Cole is officially the nations sweetheart, with the X factor proving to be a great hit for Cheryl, the girl can’t do anything wrong lately. Trevor Sorbie announced the results and he wasn’t shocked at the top 3.

Trevor Sorbie, said: “It’s no surprise to us that Cheryl’s hair came out on top. There is something very attractive about gorgeous glossy hair. Cheryl’s hair always looks in perfect condition with a great colour, which really suits her. I also love Victoria’s new style it’s a great example of our daring British spirit - never afraid to try something new.”

The dishevelled Amy Winehouse didn’t fare too well, being voted worst hair style. Trevor expressed his sadness at the result:

“It’s a shame that Amy is caught so often by photographers who are so keen to snap her at her worst, because she is a real trend setter, responsible for single handily re-launching one of history’s most iconic hairstyles.”

MOST BEAUTIFUL HAIRSTYLES
1. Cheryl Cole
2. Victoria Beckham
3. Kelly Brook
4. Keira Knightley
5. Kylie
6. Kate Beckinsale
7. Holly Willoughby
8. Denise Van Outen
9. Fearne Cotton
10. Alexa Chung

WORST HAIRSTYLES
1. Amy Winehouse
2. Camilla Parker-Bowles
3. Courtney Love
4. Kelly Osbourne
5. Peaches Geldolf
6. Sharon Osbourne
7. Madonna
8. Lily Allen
9. Beth Ditto
10. Zara Phillips

Well, Guillermo Del Toro comes frustratingly close to going out with a fanfare. The film begins with a rather beautiful stop motion intro that sets up the stories of Prince Nuada (Luke Goss), his sister, Princess Nuala, the war between humans and the world of magic which precipitates the rise of the unstoppable Golden Army, the obvious crux of this film. It’s almost a sly dig at the excess of film, showing the power in simple fairytales, something that’s always been a major draw of Del Toro’s films.

In his Spanish fantasies he embellishes the quest or fable with an attention to detail that is truly remarkable. It’s almost impossible not to love his films irrespective of whether you’re a stickler for a watertight structure. He’s a man of rich, ornate ideas and idiosyncrasies over restrictive plot mechanics. The devil is most definitely in the detail and it’s certainly true with this film, an eco-drama that fuses gorgeous fantasy, wit and thrilling action to almost complete success. In fact the film has enough imaginative flair to fill twenty films, the short time we spend in the Troll Market a lavish expression of this. It’s a loving tribute to the Mos Eisley Cantina sequence from Star Wars and matches the wild eyed wonder of his best films.

Taking all that into account, Hellboy is like the young heroes of Del Toro’s Spanish films: an innocent adrift in a world of things he does not yet understand; desperate for attention and affection. Orphaned, and fatherless like the children of Devils Backbone and Pan’s Labyrinth, he still feels the loss of Professor Bruttenholm from the first film and he seeks acceptance from both humans and his outlandish colleagues in the BRPD. Perlman breathes new life into an already vibrant character, even handling with aplomb the rather awkward, Hallmark ‘outcast’ subplot that should have stayed implicit.

In fact there’s a sense Del Toro would be happier if he could ditch the more obvious, commercial elements of the film entirely, and keep this a character piece; the best moments coming from the various interactions between the members of this Paranormal CSI. While Hellboy’s relationship with pyrotechnic Liz is doomed by a combination of his immaturity and a rather unfortunate flat performance by actress Selma Blair, it leaves room to expand on the lesser known Abe Sapien, now voiced by the actual actor Doug Jones, and also introduce a new character in the erudite ectoplasm Johann Krauss.

Sapien is both brother in arms and spirit to Hellboy and there’s a romanticism to his character that makes him a more interesting proposition. There’s a sense that Del Toro knows this and litters the film with perfectly formed character moments that mark him out as confidant, leader, fighter and even romantic lead. His awkward, yet sweet courting of Princess Nuala is a true highlight of the film, and one that is beautifully sold by Jones in an excellently restrained performance. And though the connection to her brother is one of the parts of the film that seems almost too deus ex machina, it certainly adds a tragic, bittersweet finish to Sapien’s arc.

Johann Krauss on the other hand is anything but subtle, but is all the more wonderful for it. Less a character, more a pure spike of cinematic smack; a wild enigma like the Joker in ‘The Dark Knight’.  Barring, a hilarious moment between Hellboy and Sapien where they drunkenly carouse and belt out Barry Manilow, nearly every single other comedic moment comes from Krauss and the brilliant voice work of ‘Family Guy’ creator Seth MacFarlane. While Hellboy goes broad, it’s Krauss who offers a surprisingly adult wit, moving from the profane mangling of , ‘focused!’, to the physical comedy genius of the locker scene and topped by the ‘Allo, ‘Allo stylings of his mincing walk, belting out a kitschy Germanic number. He’s a sublime addition to the cast and the film’s a must see for MacFarlane’s efforts alone.

Unfortunately, where the film truly falters is in the character of Prince Nuada. Not for any wrongdoing on the part of Luke Goss who has been a welcome surprise since he first united with Del Toro back in ‘Blade 2′. He injects an impressive athleticism into his action sequences and provides the necessary gravitas, mixing both the dark and light parts of this sympathetic character well. Indeed, while it might seem hypocritical to praise the complexity of a film that tries to see both sides of the villains story, and then criticise it for doing just that, it’s something I regretfully must do.

In trying to improve on the by the numbers villainy of the first film, Del Toro has removed much of the danger that the first threat posed. With all the power Nuada accrues in the first act of the film, he seems very short on allies; one henchman with a fist on a chain and a stampede of bartered for tooth fairies (rather minor after the Lovecraftian horrors of the first Hellboy) do not a real menace make. And although he causes one of the major setpieces of the film in the Forest Elemental attack, a very nice combination of action and environmental concern as its blood breeds lush new life with every drop, it’s the task of a plot device rather than a major character. Whenever the momentum falters, bring in Nuada to kick-start things, even if his entrance will be slightly deflated by the fact that two of his opponents appear to be pissed.

In fact, instead of building steadily to what should be a climactic battle, we get diversion after diversion, be it the schmaltz of Hellboy’s rejection by humanity, the comedy stylings of downtime at the BPRD and finally the admittedly stunning sequence of ancient cityscape and another hideous beauty for Doug Jones to play with in the Angel of Death (give those production designers and artists an Oscar already). Yes, it infuses the film with more weight in its exploration of a prophecy involving Hellboy, but it rather distracts from the confrontation to come.

In fairness the film has clearly been hampered by budgetary concerns, with a much more modest price tag attached than other films of its kind. Where there should be a horde for Nuada there is a lone search for a mechanical army that only really impresses you when it’s rebuilding the damage done by Hellboy rather than when its actually working (again, detail, gorgeous detail). It does offer yet another moment for Krauss to shine, using his ectoplasmic power to body hop and bring some Hulk smash to the BRPD’s enemies, and there’s the sly kick at governments and the power they crave and wield, but without a single enemy to offer a real challenge the film is left with less exhilaration and more poignancy, Goss impressing with his delivery of the line, ‘We die, and the world will be poorer for it’.

In short, the film is more a nostalgic look to ones childhood when the world was infused with magic; with stories of gobins, elves, ogres and fairyfolk and any failings of action was down to your own lack of imagination. Taking it like that and ‘Hellboy 2: The Golden Army’ does nothing less than it should, and for that it’s a huge and mesmerising success.

As the twin evils of the Farelly Brothers and Adam Sandler continue to cloud your mind with their insipid, infantile and overly sentimental dross, Rogen and his ‘Superbad‘ writing partner, Evan Goldberg re-team to script a tale of Dale (Rogen), a process server who’s enjoying the simple pleasures of smoking pot and dating a high school chick. After witnessing a murder committed by the local drug kingpin (Cole), he goes on the lam with his wigged out dealer Saul (Franco). Meanwhile a pair of hit men (Corrigan and Robinson) use a ditched roach to track them down through the eponymous Pineapple Express and Saul’s supplier Red (McBride).

What’s great about this movie is that while ostensibly a comedy, like ‘Superbad’, it fuses genres. While that film mixed coming of age angst with bawdy teen hijinks, Pineapple takes the baked humour of stoner flicks and cleverly integrates the elements of action cinema. Instead of simply paying homage to these genres, they actually manage to make a fully fledged entry, and what an entry it is. From that perspective it’s no surprise that David Gordon Green is at the helm, injecting a charming lyricism and observational weight to proceedings. He even pokes fun at his own work with an odd jaunt in the forest that ends up with Saul trying to get a caterpillar high.

While some might prefer a more restrained, tighter hand in charge, the unashamedly loose structure, full of amusing diversions is just as a satisfying smoking session should be. This is spliff-riff filmmaking with a hilarious high. It’s a real joy to count off the references to the ramped up movies of the 80s, with the overblown action and bromo-eroticism of the ‘Lethal Weapon’ series and the grit and snipe partnership from ‘Midnight Run‘. Whether it’s the car chase with its inspired foot through the windscreen and sly nod to the fly-by in ‘Top Gun‘, the inventive (dustbuster to the face) and surprisingly gritty fight at Red’s house or the McTiernan inspired hyper-violence of the final shoot-out this is a film that juggles the dramatic elements effortlessly and with mesmerising results.

As for the comedy, it’s all in the performances. Rogen as Dale is the ostensible lead, but he’s playing the straight man here. Still very funny and full of charm in a roly-poly kind of way, but happy to take a step back and push the true stars to the fore. It’s Franco as Saul and McBride as Red that steal the picture, Franco with a performance of such humanity that it raises the movie up even higher. Sure at first glance he’s frustratingly addled, but it doesn’t turn into a rote ‘Cheech & Chong‘ interpretation of a stoner. Instead he embellishes the role with a dopey sweetness that’s never cloying; in fact it‘s endearing. There’s an almost Chaplin-esque nature to his work, seen most clearly in the physical comedy moments near the end of the film where, forgetting his hand should be securely tied behind his back, he brings it up to cover a cough. A natural actor, it’s great to see him return to the quality he showed in Apatow’s ‘Freaks and Geeks’.

McBride’s Red on the other hand is all out magnetism. Like Ferrell before he got diluted by fame, his expansive non-sequiturs, and superb improvisation bring an added charge to the film. He’s that chaos element that gives you a trifecta of comedy goodness. It’s also impressive that in a film brimful of sharp one-liners it’s McBride that has the best material, whether he’s pointing out the guns he owned as a male prostitute, “Thug life!”, or spitting out, “You just got killed by a Daewoo Lanos!” to a crushed bad guy. This is a star in ascendancy.

Wrapping up the film is a neat scene in a diner that not only pokes final fun at the join the dots mentality of filmmaking, it also recalls the fun of any post film pub discussion, as the trio summarises the best bits of their story, and proves, like Superbad, what a tremendous heart the film has. Because you’ve warmed to the convincing characters you’ve become more receptive to the laughs, a truth much overlooked in comedies, and in fact movies as a whole, today. Aren’t the best films the one where the actors are having the most fun?

All you need to do is answer this stupidly simple question.

Where is the Clothes Show Live is being held at?

Simply send your answer through to competitions@the-dish.co.uk with your name, address and mobile number.

Winners will be announced 2nd December.

Check out our preview of Clothes Show Live

No Doubt announced that they will be getting back together in 2009 to record a new album via a fake iChat conversation on nodoubt.com

“I think we should go out now, I don’t think we should wait. Pack up the babies and get a bunch of nannies. So fun! Would be so spiriting to get out there and play all those songs again. I think that if we go on tour, it will inspire us to write. I need to see the fans out there,” Gwen Stefani typed in a mock iChat with Tom Dumont (guitar, vocals), Tony Kanal (bass) and Adrian Young (drums, percussion).

Damon Albarn has finally announced that the four original members of Blur will reunite in the studio next year, talking to the BBC he said “Blur are certainly going to rehearse and see if we sound like we used to”. Rumours of a reformation have been circulating for some time but only recently have had more weight behind them when it was made public that Albarn and Graham Coxon had kissed and made up.

Finally Presidents Of The United States Of America have announced they are set to return to UK soil in April of 2009 at Astoria, London after releasing their sixth LP These Are the Good Times People earlier this year.

The Experimental/Punk/Electro band have already had two great tours with The Whip and Does It Offend You, Yeah?.

They are also working on their debut album for 2009 after releasing a collection of their work from the last 2 years called The Owl Of Minerva.

November
27 - Newport - Newport Centre
29 - Swindon - Oasis
30 - Plymouth - Pavillions

December
2 - Leeds - Academy
3 - Birmingham - Academy
4 - London - Brixton Academy
5 - London - Brixton Academy
7 - Manchester - Apollo
8 - Liverpoool - University
9 - Glasgow - Academy
10 - Sheffield - Academy
13 - Llandudno - Venue Cymru
14 - Newcastle - Academy

http://www.myspace.com/southcentralmusic

Asked what inspired her new single, Rose told CMU: “After being in The Pipettes, which was very much based around the idea of writing ‘pop’ songs, I was thinking about how those processes and ideas related to my own personal song writing now, being outside of that structure, and this is something that came out of that time. I suppose it is about the first couple of weeks that you meet someone you are interested in being around, not believing in forever but enjoying the experience all the same.”

Rose added that her ambitions for her new single are simple. She joked: “I would hope for it to induce complete unadulterated ecstacy combined with a sudden, overwhelming morbid depression. And don’t you dare tell me it reminds you of Kate Nash, cos I’ll stab your eyes out!”

She quickly added: “I really just want as many people as possible to hear it, and just make people aware that I am making music again, that draws a line under what I have done in the past. In the end, I really just hope that some people like it.”

Her debut single Another Version Of Pop Song will be released as a download and limited edition 7″ on 8 Dec through Scarlett Records. An album is also planned for 2009.

Rose Elinor Dougall MySpace: http://www.myspace.com/roseelinordougallmusic

Rose will headline CMU’s monthly new music showcase night, CMU Social, at 229 on Great Portland Street, London on 9 Dec. Entry is £5 and doors open at 7pm. More info at http://www.myspace.com/cmusocial

Dizzee Joins the likes of Reverend & The Makers, Beardyman, The Whip, Filthy Dukes, Fatboy Slim, Grandmaster Flash and the Cuban Brothers.

Snowbombing is celebrating its 10th anniversary in 2009 and has a massive line up to make sure it’s the best yet!

Full line up as follows:

Live Line-Up:
Dizzee Rascal, Reverend And The Makers, Beardyman, The Cuban Brothers, The Whip, Filthy Dukes, Dan Black, Pnau, Flashguns

Dj Line-Up:
Fatboy Slim, Grandmaster Flash, Layo & Bushwacka!, James Zabiela, Nic Fanciulli, Plump Djs, Claude Von Stroke, Caged Baby, Scratch Perverts, Dillinja & Lemon D, Krafty Kuts, Freestylers, Jaguar Skills, Zinc, Soul Of Man, Hyper, Fabio & Grooverider, High Contrast, London Elektricity, Tayo, Skream, Benga, N Type & Hatcha, Caspa, Chase & Status, Dynamite Mc, Greg Wilson, Riva Starr, Fine Cut Bodies, Zodiac Cartel, The Loose Cannons, No Fakin Djs, Justin Martin, Kos, Cassette Jam, Joe Ransom, Dave Beer, Scott Nixon, Tristan De Cuhna, Russ Cuban, Reverso 68, Men In Masks, Mat Playford, Guy Williams, Chris Bones, Phat Phil, Cooper, Christian Martin, The Beeny Royston & Jadell Show, Firas, Frogs In Socks, Tbx (Petty Krooks) & Phuture Funk

Parties:
Back To Basics V 20/20 Vision, Black Rabbit, Bugged Out!, Fingerlickin’, Jezebel Presents, Horse Meat Disco,Hospital Records, Southern Fried, Tirk Records, The Blast, Blowpop, Sumo, Moda, Urban Nerds, 2020 Rocks, Redhot