Film: Twilight Director: Catherine Hardwicke Runtime: 122 minutes Links: IMDB Brimming with teenage angst, sexual tension and forbidden love, the first of Stephenie Meyer’s Twilight novels bursts onto the screen in a flood of adolescent fantasy.  The genre has been cast aside over recent years, with likes of Harry Potter’s fanciful narrative and High School Musical’s somewhat super-reality, the teenage romantic drama has shared little of the spotlight.  But with a gross of £35.7 million on its opening day, Twilight was haled as the refreshing agent of the teen fiction brand, bestowing Catherine Hardwicke with the biggest opening ever for a female director. The plot happily follows the conventional ‘boy meets girl’ outline with a charming, if blood- thirsty twist. ‘Teenage blues’ rears its entertaining (if ugly) head in the prickly demeanour of the slightly ethereal heroine of the story, Bella Swan. Her attempt at reintegration into her father’s dull and permanently rainy town dominates the first quarter of the film. The undeniable lack of similarities shared between Bella and her class mates (all stereotypically lifted from any number of High School Dramas) effectively condenses this discomfort.  Interrupting this awkward, but relatable line of departure is the strong silent (and oh so stylish) stereotype of Edward Cullen. With a local celebrity status afforded by antiquarian good looks and voiceless charm, the anti-hero and his equally attractive family elegantly breeze into Bella’s uneventful existence. Longing glances, lingering whispers and  a sexual tension threatening to set the rain stricken hills on fire, compel the ‘lovers’ to embark on a captivating, but hazardous relationship. Cloaked in insipid hues of green and blue, the film owes a lot of its atmospheric impact to the colour and set management. Aptly conveying the dark, forbidden nature of the pair’s affair, the dull, sleepy town procures an uneasy ‘limbo like’ continuity throughout the film. However, it is at this point one can sympathise with the many critics procured by this film, the relationship had taken over half the film’s length to establish,  this,  maybe a symptom of  ferocious fidelity to the book , had become drawn out and tedious by 60 minutes in. This halfway separation was realised in the sudden influx of action, promised during the first half. The final part of the film raced past in a blur of branches, fire and bodies. One could not help feeling the impact of such scenes would have benefitted the narrative spread a little more evenly through the dialogue. None the less, this ‘Buffy’ adaptation for the big screen effectively explicates the hurdles of teenage existence. Love, heartbreak and isolation all fused with twists of sex, death and immortality compellingly procure a relatable but obscured tale of teen romance.