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After 1996's Trainspotting, Boyle was supposed to be the hot new thing in British cinema but it didn't quite happen like that. His next film was a stepping stone towards bigger and better things, although was hardly a huge smash. A Life Less Ordinary may very well be Cameron Diaz' lowest grossing film of all time - a microscopic 4 million at the US box office. This didn't stop him directing his first US big budget production, The Beach. Everything looked set to launch Boyle into the big leagues. The book was an acclaimed novel by Alex Garland - the hot read of its year amongst anyone with street cred. They were filming in paradise, aka Ko Phi Phi on the southern coast of Thailand. Boyle even ditched his leading man in the last three films Ewan McGregor, for the world's biggest star at the time Leo DiCaprio - much to everyone's derision. Everything was put in place, success was guaranteed. Except it wasn't. The Beach was a disaster. People stayed away in their droves, critics massacred it. Despite taking less than its production budget in the States, it may well have limped towards a profit by the time it left theatres - overseas taking, whilst modest, probably pushed it into the black. Just.

I personally thought it one of the very worst films I've ever seen. Rottentomatoes tells us critics say "The Beach is unfocused and muddled, a shallow adaptation of the novel it is based on," I think they are being kind. This failure was strong enough to ensure Boyle had to return to small budget films, and maybe here Boyle is in his element since 28 days Later was very well received and used it's 8 million budget well. He followed that up with Millions, a well received kids film and then Sunshine, a well received sci/fi. But despite continued success and solid reviews for just about everything he has ever done (The Beach excepted) Boyle has never made that transition into the big time. I expect that is about to change. Oscar success seems imminent. People are knocking on his door. He's the hot new thing in cinema and all thanks to an obscure, low budget, star-less Indian film about a boy on a quiz show.

Slumdog Millionaire has been so well publicised I'm sure everyone knows the story by now, but for those that don't a teenager from the Mumbai slums competes in the Indian version of Who Wants to be a Millionaire and begins the film just one question away from the jackpot. How is this possible? a) He is Lucky, b) He is Cheating, c) He is a Genius, d) It is Written. The film tells through flashbacks the story of how he has acquired the knowledge to reach the final question.

When a film breaks out in the way that Slumdog has there is usually the inevitable backlash where people queue up to say how it isn't as good as everyone thinks it is. Thing is, there doesn't seem to have been one for Slumdog Millionaire this year. Perhaps then it really is that good? It is certainly a heartwarming tale that is bound to leave you feeling pretty great when you leave the cinema. It's very hard to dislike. There's not a lot wrong with it. But to call it the best picture of this or any other year is a stretch.

Ultimately Slumdog is a love story - that between Jamal and Latika - a childhood sweetheart who he reconnects with just days before his TV show appearance, although it transpires he never fell out of love with her despite years apart. Jamal is played by Dev Patel, a Londoner whose first role in the movie business just happens to be the role of a lifetime. A BAFTA nomination for lead actor is ludicrous however. In fact ludicrous doesn't get anywhere near it - it is frankly nothing short of embarrassing. The level of difficulty in the role is minimal and Patel doesn't do very much more than look confused for 2 hours. However it is not his fault that critics are getting carried away with the film and he's perfectly good at what he does here, rarely putting a foot wrong. Freida Pinto, as Latika, was also nominated and - if this is possible - its an even worse decision. The one stand out, Anil Kupor, is charismatic and carries his scenes but was overlooked.

Ultimately this is a film that'll appeal to most viewers, in most demographics. Technically it is very assured. Boyle's direction is lively, and colourful. The set design is wonderful and the score by AR Rahman enjoyable. It is hard to begrudge its success and although it wont crack my best of list at the end of the year, I very much enjoyed it.