Ice Age 4: Continental Drift (2012)

The fourth instalment in this popular animated series, this film is set several years after the previous instalment.

It opens - as with all the earlier films - with Scrat doing everything he can to protect his precious acorn. But in his adventures, all of a sudden, cracks begin to appear in the ice he is travelling on, the ground opens up and he is sucked down into the earth.

The ice continues to crack, and the ground begins to separate; the plates of the earth begin to shift, and newly-formed continents begin to drift (hence the film’s subtitle).

We then see Manny (Ray Romano) and Ellie (Queen Latifah), looking for their now teenage daughter, Steffie (Nicki Minaj). It seems she has gone again to the falls - a place she is forbidden to go to, as this is where all the young delinquents hang out - with her friend, molehog Louis (Josh Gad).

Steffie, you see, has a crush on another mammoth, Ethan (Drake). Manny - after finding her - forbids her from going to the falls yet again.

It is about this time that Sid’s long lost family show up with his Granny (Wanda Sykes) in tow. They leave her with Sid (John Leguizamo), and abandon him yet again.

Manny (Ray Romano), with Diego (Denis Leary) and Sid (John Leguizamo) in the background.

When Steffie goes back to the falls again - only to be found by Manny, Ellie, Sid and Diego (Denis Leary) - again, all of a sudden, the ice begins to crack and the ground begins to fall away, separating Manny, Sid and Diego from the rest of the creatures at the falls.

Pulled out into the open sea by the strong currents, they are swept away, and must spend the rest of the film trying to find their way back to the others.

Along the way, they encounter a group of pirates, led by the egomaniacal Captain Gutt (Peter Dinklage).

I won’t describe the plot any further, for fear of spoiling your own enjoyment of the film.

Sid (John Leguizamo).

The animation in this film continues to improve, as technology has continued to develop in the intervening time since the previous film. The rendering and animation, particularly of the water, is absolutely stunning, and super realistic.

John Powell’s score is excellent, and perfectly matched to the on-screen action throughout the film’s 87-minute duration. In fact - as is the case with a lot of animated films - almost the entire film is scored; there are only brief moments where there is no music.

The screenplay, by Michael Berg and Jason Fuchs, seems - at least to me - to be even better than at least the previous two instalments. It has been some time since I have watched the original film, and perhaps my memory is slightly biased, but I would still attest that the first one was and is the best of the lot. However, even if that is the case, this film comes a very close second. The interaction between all the characters, and the many twists and turns of the plot, will keep you glued to your seat, and your eyes glued to the screen, from start to finish.

Crash (Seann William Scott) and Eddie (Josh Peck) are back again, too, of course.

The performances of the voice cast are also fantastic. I know I have mentioned the returning cast members in previous reviews (I have reviewed the previous three films already, and will eventually get to the fifth instalment in due course), but I would like to discuss the new cast members for a moment.

A particular standout in this film is Peter Dinklage, who plays his role with the perfect balance of humour and threat. He seems well suited to his character, and brings him to life in a wonderful way.

Directors Steve Martino and Michael Thurmeier have made an incredibly entertaining film here, a difficult task for any film that is the fourth instalment in a franchise (as mentioned above, I will also be reviewing the fifth film in the very near future). If you haven’t seen it, it’s well worth a look, though I would advise you watch the previous films first to get a better understanding of the characters, and how they all relate to each other.

8 out of 10.

I Think We're Alone Now (2018)

A truly rare film: a post-apocalyptic story that is full of heart.

Del (Peter Dinklage) is - as far as he can tell - the only survivor of something that has wiped out the entire human race: some event that caused everyone to drop dead at precisely the same moment.

He spends his days cleaning houses: tidying everything up, burying bodies and taking whatever supplies will help him to get by. He spends his nights drinking and re-sorting books in the local library where he used to work.

One day, he comes across another person: a young woman named Grace (Elle Fanning). Uncertain of her identity and not sure whether she can even be trusted (after all, why didn't she die along with everybody else?), he at first imprisons her until he is sure he can trust her (don't worry, she isn't confined for long).

She starts to help him with his cleaning up, and everything seems fine, until two more people show up, introducing themselves to Del as Patrick (Paul Giamatti) and Violet (Charlotte Gainsbourg), and claiming to be Grace's parents.

She certainly recognises them, but doesn't seem as excited to see them as they are to see her.

The most interesting thing about this film has got to be the cinematography. Shot by director Reed Morano, it seems that the entire film has been shot using only natural light. This is of course fine during the day, but at night, it gives the film a very unsettling feel. This isn't bad, it's just how it is. It actually works incredibly well for the film, giving it a much more natural feel. And given that there isn't any electricity any more, it makes perfect sense to shoot it like this.

The script, by Mike Makowsky, is very well written, and filled with so much heart, despite the grim subject matter. The dialogue is sparse, yet filled with nuance and a subtlety that shines through.

Adam Taylor's music is almost non-existent, but totally in a good way. A story like this one doesn't need to be overwhelmed with music, and the sparse score allows for the interactions between Del and Grace to take all the focus, which of course they deserve.

The performances of the cast are superb. It is rare to see a film like this that for the majority of the time features only two characters to work as well as this does. But the talents and abilities of both Dinklage and Fanning are obvious, and the two of them work so well together on screen, it is easy to forget that they are the only people you are seeing for most of the film.

Morano's direction is very light-handed, he mostly allows the actors space to do their thing, while at the same time, crafting and shaping the entire piece to suit what he is trying to say, and the point he is trying to make, which seems to be that family is not so much about the people who are related to you, and more the people you find yourself with in the most difficult times of your life.

I would thoroughly recommend this film to anyone who has yet to see it. It is well worth the time to watch, perhaps even multiple times, as I guarantee you will notice more each time you watch it.

A truly beautiful film that should have had a much wider audience than it did.

9 out of 10.