Celebrity schmoozer and film reviewer extraordinaire Kim gives her thoughts on Skyline, and lo and behold, she likes it.

More of her stuff on http://kimfrancis.co.uk/

Having been turfed out of the cinema (Showcase) because the film wasn’t working only to have a row with the girl behind the counter over the unfairness of their ‘compensation’ policy before battling my way through town centre traffic to get to Vue for a screening of the same film, I was certainly in no mood for a turkey. Thankfully, Skyline provided some light relief.

There have been plenty of end-of-the-world science fiction spectaculars in recent years and their prevalence isn’t only because of advances in technology that allow filmmakers to create jaw-dropping special effects on a massive scale. While the ability to digitally wipe out entire cities in front of our eyes is a large part of it, it’s also true to say that this burgeoning sub-genre has also grown in response to our feelings in a post-9/11 world.

Of course, the majority of these end-is-nigh effects-fests exist to entertain and amaze with their impressive computer-generated images, and Skyline is no different.

Directed by Colin and Greg Strause (or The Brothers Strause as they are credited), Skyline is more about the creation of bigger, better, crowd-pleasing, headline-grabbing effects than anything else. And the brothers’ effects background (the sibling duo have a special effects company called Hydraulx, a leader in the field) is very apparent. It stands out because in every other area the movie is lacking. But not detrimentally so – in some respects, its weak areas actually add to its entertainment value…

But first, the plot. An assembled throng of self-obsessed party-people are rudely awoken with the hangover from hell following the indulgences of the night before. When a super-bright light floods through the blinds of the scene of the party – a penthouse apartment in LA – something doesn’t seem right. It could be the fact that one of their number has just been compelled to walk out through the balcony doors, only to disappear. They soon discover that the blue-white glow is emitted by organic-mechanical alien hybrids intent on luring their human prey towards a fate they don’t yet know. With the city crumbling around them, is there anything they can do to get out alive?

Although Skyline is derivative – with plots and sequences from War of the Worlds, Cloverfield, Independence Day and District 9 all rolled into one – it’s fun and rolls along at a decent pace. With a cast of unknowns and names you might recognise from US television (including Scrubs’s Donald Faison and Dexter’s David Zayas), Skyline clearly relies on CGI to sell it. And though it feels like it belongs on a satellite channel rather than the big screen, this is part of its appeal.

A C-list cast, dodgy dialogue and extreme campness make this alien-invasion feature a not un-enjoyable romp. And if you bear in mind that the brothers previously directed Aliens vs Predator: Requiem, you can prepare yourself for the sort of film you’re going to get.

So, what of the CGI? While on the whole it’s convincing, the film is let down by its inability to convey the utter devastation caused by the alien attack. Most of the carnage is shown from afar, substantially lessening the emotional impact.

You’ll have an inescapable sense of déjà vu watching Skyline, which means it doesn’t pack quite the punch it could have but that doesn’t mean it isn’t entertaining. As well as a stunning scene involving an aerial attack on the invaders by stealth bombers and fighter planes, it also has plenty of humour – even if it is unintentional.