The Polar Express

The first movie to utilise the much-trumpeted performance capture technique, The Polar Express is an extraordinary-looking adaptation of Chris Van Allsburg's yuletide book. But, as any model will never tire of telling you, looks can't compensate for personality and The Polar Express feels cold with its hackneyed delivery of the eternal Christmas theme of having faith.

A multi-tasking Tom Hanks voices several characters; chief amongst them is a nameless boy in a nameless 1950s American town, who is beginning to doubt that Father Christmas actually exists. On Christmas Eve, as he awaits the no-show of Santa, a steam train pulls up outside his suburban home. After meeting the Conductor (Hanks again) the boy hops onto the titular locomotive, which is full of doubting fellow nippers. As it turns out, they're all on a journey to the North Pole to meet Father Christmas himself, which it is obviously hoped - by the filmmakers, at least - will reinstall their collective faith in the fat bloke.

Van Allsburg's book is a slender volume and the first mistake made by Zemeckis is attempting to flesh it out with very special effects rather than the addition of depth to the characters or the plot. The Polar Express does look incredible in places - a rollercoaster-like trek through the mountains, and a ticket's journey are just two of the visual treats in store - but it lacks an original, or even heartfelt, voice. Another distinct disadvantage is the composition of the human characters, most of whom seem too mechanical, even vaguely freaky. As a collection of incidents, The Polar Express has its moments. Sadly, the film's insistence in advancing a bland message in the most hollow terms means it feels lightweight and cheap - despite the extraordinary budget, estimated north of $165million. Oh, and that Jesus chap doesn't even get a look in.