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36,606 Bc (12A) 108min 00
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ANlM/‘tl i’ ll, HORTON HEARS A WHO! (U) 86min 0.0
“It: rhagv al rh,rhlhg .‘Jllllllfi‘, of Dr 801131, '.‘/it‘., lii“.",‘.’ more resistant,- tltah .'/ll(:ll l(:ll<li:l(,‘(l Ill iw: attioh l), (L()lll(:(llélllf; ,lurh Carry, t/hw (lunch or N1th Myers llhe) Cat Ill tho Hall But touhholrlgy hat; llllLlll) caught up .'.’llll Solisa‘s, hat-wearing. cat—like armatur. With animators; Blur: SM taking a break from their ongoing /, 2‘ Age llélllt‘lllfst.‘ to (inspl, realise: the (olourtui splitlovol lilll‘.(:lf3(:i) (at (le|l(ll(‘ll‘ts text Hortor‘ / {Na/f, A ‘.'//t<>.’ \Jllll Cam», play; llorto't. a Sympatht-tu‘ uluphant who mother; ti“ l)(,‘ll(i“.(? lllt‘ tun, worlrl tiallml Who ‘.lll(.‘ If} "()llliillNKl on a speck on a ll()‘.‘.’().' hm arm‘s a' >llll(l Wllll hir'r Horton", <'tvnmurut‘atloh With lllt: Mayor ot the town ISTUH: ()arrrll‘. learls to social ahrost as the VVltO~xlzillE§ l'UEillStf that thmr llll‘, \‘JOlltl Is not htnlt oh the swun- lounoatlons tho, imagined. Both Cam», and Carell are allowed tull min for their Manor; of vocal mugging as (:o—tlirm‘tors Jlllllll\' Htl‘HNLtHl {lllll Stow Martino fSklllLlll‘, gillth Horton towards a (tomtorting moral about SIZO not being all that important. But. while Seuss“ Widow oversaw this 20th Centur‘, Fox production, the addition of Shrckstylo post modern gags SOlllt‘flllllt-FS
stretches the good humour well HORROR rk'WSn-py beyond breaking point: under attack THE ORPHANAGE (EL ORFANATO) Laura was raised in an orphanage and now, 30 years trom monkeys. Horton replies .‘.’|ll‘. a (15) 105mm 0... later, she returns to her childhood home with husband (l'Sllllllillslh trite reference to Carlos (Fernando Cayo) and their young son Simon Apnea/wise Mm t'l low the smell of It's only March but you’re unlikely to see a better ghost (Roger Princep). Taking over the establishment as the bananas in the momng ‘.'."llllt? the story at the cinema this year than The Orphanage. governess she has decided to turn the orphanage into final climactic rendition of REO First-time director Juan Antonio Bayona has obviously a home for sick and disabled children. Everything Speedwagons Can't Fig/‘3 th's mm; taken great inspiration from his producer Guillermo del seems to be coming up roses until a sinister social Antwerp Sureh isn't mactlx ‘.'.'lt; t the Tom, whose excellent The Devil’s Backbone, along with worker (Monserrat Caulia) turns up and Simon good doctor himself mould haw Alejandro Amenabar's The Others and Jack Clayton’s inadvertently discovers that he is adopted and HIV ordered. lElellC Harrison fabulous 1961 chiller The Innocents, are the models for positive. When Simon draws a picture of a boy with a I Geriera' re’mso from Fa Q" 213', this superior horror that recently picked up seven sack on his head, and invents imaginary playmates, Spanish Goya Awards. Laura starts to feel a creeping sense of deja vu.
There are few things more eerie at the cinema than The key to the success of this story is the edge-of- obsessive, broken women cooped up reflecting on the-seat suspense, which constantly threatens one childhood, whether their own or someone else‘s. Think kind of scare but produces another. Throughout, it’s Bette Davis’ and Mia Farrow‘s titular characters in impossible to tell how much of what is happening is Whatever Happened to Baby Jane? and Rosemary’s real or merely taking place in Laura's mind; there's even Baby respectively. Laura (Belén Rueda) can now be a brilliant sting in the story. added to list for her composed performance in The The Orphanage is confirmation, if any were needed, Orphanage that sees her visibly age from beaming that Spain has overtaken J-horror (Japanese horror) as sunflower to haggard weed as she stresses over the the place to go for your cinema scares. (Kaleem Aftab) fate of herson. I ' w " " 5' "
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