300

"This is where we fight! This is where they die!". I'll admit it, after repeatedly witnessing the bombastic, guitar crunchingly deafening trailer littered with such one dimensional sound bites, I wasn't expecting much from the latest Frank Miller adaptation. Two hours later though, and this stylish take on the historic Battle of Thermopylae had done everything a slice of pop culture movie making should do.

480BC and king Xerxes the Great descends upon Greece with the massed hordes of his Persian military. Dispatching messengers across the land, asking only for the Greek city states to subjugate themselves to his rule, the self proclaimed god hadn't reckoned on the response of Spartan king Leonidas. Born into a warrior culture, Leonidas chooses (not unsurprisingly) that it would be tactically advantageous (and a whole heap more fun) to have a bit of rumble with the Persian invaders. Without the backing of his Spartan officials, he nevertheless takes a selection of his finest men to meet Xerxes head on, and the 300 of legend are born.

Visually flawless, 300's artistic superiority to previous Frank Miller adaptation Sin City is so complete, the comparison seems deeply unfair. Perfectly composed, the lush colour palette and pin sharp CGI blend in a sumptuous visual feast. At times erotically pleasing (the overtly perky breasts on lithe female bodies, not the blokes you bummers), but more often viscerally satisfying in it's portrayal of ancient violence. Staying close to the graphic novel has once again reaped enormous rewards, and shown how gifted an artist Miller is. It's also the first movie I've seen digitally projected, and the benefit from this technological jiggery-pokery was impressive.

Depth and subtlety are commodities in short supply on the story front, but 300 never pretends to offer them. Instead characters are drawn with broad strokes of the storytelling brush; detailed enough for us to care about their fate, and to give flesh to the underlying themes of honour, duty, and the simple pleasure of kicking arse. The surprising thing is how well this works in the movie's favour. It really does feel like a myth, an embellished legend being told round the campfire.

This broad and simple framework also brings forth solid acting from all those involved. A tangible bond forms between the Spartan soldiers, held together by the strong presence of Leonidas. He also gets some excellent and memorable one liners, giving us moments of genuine humour that slot seamlessly into the bloody situation. Even the "story back in Sparta", unfolding during the brief breaks in battle allows for strong characters to develop. Queen Gorgo arguably gets the best scene in the whole movie, when she has her revenge on a scheming politician.

If you can stomach the comic book gore, live with the simple story and occasionally clunky dialogue, then 300 is an immensely entertaining movie. It's also a hell of a lot better than I expected.

Caught by the Fuzz

Top London police officer Nicholas Angel (Pegg) is making his colleagues in the force (sorry, service) look bad. With a string of awards and an arrest record 400% higher than anybody else, his superiors decided to take action. Transferred to the sleepy village of Sandford, Angel is paired up with PC Danny Butterman (Frost), a man more interested in cop movie fantasy than real police work. Despairing at the lack of criminal activity in his new beat, Angel soon believes he has uncovered something sinister as a series of brutal "accidents" occur.

There is so much to love about Hot Fuzz. As a parody of action movies it is spot on in it's piss-takery. Film geeks playing "spot the reference" will drool at the myriad little details crammed in there. Finally fans of the Pegg/Frost comedy pairing will not be disappointed in this latest offering. Oh and it also casts Timothy Dalton as a sinister Supermarche owner; clearly his best role since Prince Barin in Flash Gordon. How cool is that?

Aside from Dalton, the movie features a host of British talent as the supporting cast. Bill Bailey and Olivia Colman provide some of the best laughs as Angel's colleagues at Sandford police station -the latter having some priceless innuendo laden one liners. Jim Broadbent is also perfectly cast as the well meaning station chief, concerned with the greater good of the village. Humour runs the range from parody, neat one liners, perfectly timed swearing (usually from Frost), to some subtle sight gags (look out for the spit roast at the village fete). There are also a number of visual cues and set piece camera work during some of the most improbable action scenes that perfectly ape Hollywood.

Comparisons to Shaun of the Dead are inevitable, and if I'm being completely honest Hot Fuzz comes up a little short. Whereas Shaun was a tightly paced and focused parody cum homage of the Zombie flick, Fuzz runs too long and is unsure what it is trying to be at times. The sidestep into horror during the movies second hour doesn't work nearly as well as the scenes taking the piss out of the action movie genre, and as a result the humour is pretty sparse. Thankfully the script finds itself for the last twenty minutes, providing a string of absurd gun fighting and over the top climaxes worthy of any Hollywood blockbuster.

Hot Fuzz was well worth the wait, proving the partnership of Pegg, Frost, and Wright is still a strong force in British comedy. How funny you find the movie will depend on the number of bad action movies you've seen in your time; as someone who has Point Break (though thankfully not Bad Boys 2) proudly displayed on his DVD shelf, I found it great fun.

Blood Diamond

"Then I look around and I realise... God left this place a long time ago". After witnessing the brutal lengths to which man will go to satiate his greed, you'll be inclined to agree with South African smuggler Danny Archer (Leonardo DiCaprio). Set during the Sierra Leone civil war of the 1990's, Blood Diamond is both a gripping action adventure, and unflinching look at the realities of the diamond trade.

A rare "pink" diamond buried in the Sierra Leone wilderness, is responsible for drawing the lives of three very different people together. Local fisherman Solomon Vandy (Dijmon Hounsou), separated from his family during a savage attack on his village by the RUF, knows the diamond's location but cares only for finding his family. Archer, a South African smuggler and ex-soldier, determined to buy his way out of the god forsaken continent by finding the hidden gem. Finally Maddy Bowen (Jennifer Connelly), an American reporter who wants to expose the hypocrisy and complicity of a western diamond company secretly trading in conflict diamonds.

Despite a straightforward action adventure plot, Blood Diamond thankfully transcends the typical Hollywood take on world history. Director Edward Zwick uses broad strokes to explore the many aspects surrounding the exploitation of a country and it's people. The brutality of RUF militia is shown in graphic and shocking detail. Chief amongst these images are those of child soldiers, cruelly taken from their families, drugged, and forced to kill in the name of liberating the people. He also crafts a memorably hellish cinematic landscape, in the shape of a burning war torn capital city in the aftermath of a fierce clash between RUF and government troops.

Performances from everyone are excellent, with Hounsou getting the lion's share of the emotionally charged dialogue as he struggles to reunite his family. Connelly gives a convincing turn as the reporter sick of Western apathy, desperate to expose the blood on the diamond industry's hands. But I have to save the greatest praise for DiCaprio's stunningly good portrayal of Archer. A bit of bastard at first, he brings much needed depth to what could so easily have been a cliched role. The authentic accent and colloquialisms also go a long way to strengthening the realism of the character. Between this and The Departed, I'm a convert to his considerable acting talent.

Given that the movie does an excellent job in exploring it's complex subject matter, the ending feels far too neat and tidy. It is in keeping with the movies tone so doesn't conspire to dull the impact of the previous two hours, but some may still find it a little jarring. Regardless, you will walk out feeling entertained and educated; a rare combination for a movie from Hollywood.

Blood Diamond is a thought provoking thriller, beautifully filmed, that doesn't shy from portraying the brutal consequences of man's greed.

Rocky! Rocky! Rocky!

Friday night, the screen packed to capacity with fans eager to see the final comeback of the greatest underdog in cinema history. Rocky Balboa, the inconceivable sixth outing for the boxing movie series, marks the final chapter in a story that began thirty years ago. And boy, is it a knockout piece of entertainment!

Stallone has written and directed an excellent send off for the lovable underdog. Strongly influenced by the first (and best) Rocky film, the structure and pace make for a very character driven movie. Long since retired, we find the former champ at a vulnerable time in his life. Struggling to come to terms with the death of his wife Adrian, trying to bridge the gap between himself and his estranged son, and not quite being able to let go of past glory. All this makes for a slow, thoughtful build up to the inevitable showdown; a process made all the better for Stallone's superb performance.

This wouldn't be a Rocky movie though, unless some quirk of fortune gave the guy one last shot at the big time. The premise is absurd: a computer fight simulation on a sports TV show pitches Rocky -The Italian Stallion- against current world champ (and generally cocky, arrogant little shit) Mason "The Line" Dixon. Rocky wins. So the fans and everybody else is wondering, what would happen for real? Thankfully the clunky plot device doesn't get in the way of enjoying the story.

Instead it opens the floodgates for a barrage of inspirational Balboa monologues. Keep pushing, strive to make the most of yourself, and when life hits you hard you get back up... and keep moving forward. That last one is a big theme throughout the movie. Whilst this could all come across as cheesy and a little hackneyed, from the mouth of Rocky it sounds genuine and sincere; the hard won philosophy of a simple guy.

It's a long time before the inevitable training montage kicks in, and not all the threads in the meantime work. Rocky's relationship with "Little Marie" and her son is engaging, but some of the scenes feel underdeveloped. Mason Dixon rarely feels more than two dimensional, but does have one good scene with his previous trainer. Conversely, watching Rocky struggle with the loss of his wife makes for some of the most touching, sad, yet beautiful moments in the whole movie.

An unexpectedly emotional journey, but don't worry as it ends with one hell of a fight! Capturing all the bombastic, overblown extravagance of modern boxing, it is a gruelling and often brutal showdown. Mixing what looks like high def digital camera with flashes of black and white, it's a visceral and visually satisfying finish.

As an end to the series you could wish for nothing finer. Cliched, cheesy, emotional, inspirational, and even uplifting. If you don't feel an overwhelming urge to rise from your cinema seat to chant "Rocky!" by time the credits roll, there's something wrong on the inside.

The Last King of Scotland

Told through the eyes of his personal doctor, The Last King of Scotland is an unusual yet chilling portrait of Ugandan dictator Idi Amin (Forest Whitaker). What starts out as light hearted adventure, gradually plunges you into the dark heart of a complex man.

Newly graduated Scottish doctor Nicholas Garrigan (James McAvoy) leaves his parent's home for a remote mission in Uganda. Determined to make a difference over there, it is not long before his youthful spirit for adventure sees his path cross with that of the newly elected leader. After being invited to the capital, he is made an offer that will irrevocably alter his time in Uganda. Taking the role of personal physician, Garrigan becomes the vantage point from which we observe Amin -man of the people- change into a cruel, ruthless, and paranoid killer.

Whitaker's performance as Idi Amin is astonishing, and it's his scenes that make the movie so memorable. The hulking bear-like presence is genuinely intimidating, often terrifying. Whitaker portrays each facet of the man in such startlingly believable fashion, you dread the moment he appears. Which element will be on show: charming buffoon, idealistic man of the people, murderous dictator? Idi is all these things, yet despite the fear his appearance invokes there is a strong magnetism to the man drawing you in. It is genuinely chilling to watch someone so unpredictably brutal, yet also humorous and charming.

Sadly the same praise can not be passed on to other aspects of the film. The towering performance of Whitaker makes the average quality of the screenplay all the more obvious. As a device to portray Idi the story is at best functional. Supporting characters are not as fleshed out as they should be. An important sub plot involving the British foreign office is also minimally developed; all the more puzzling given it's relevance in the final reel.

It doesn't take much to read Garrigan as symbolic of Western foray in to African political affairs. A man seeing only what he wants to see, carrying himself with a mix of arrogance and ignorance. But watching the Doctor drink whiskey, sleep with married women, and blunder through horrific turmoil with complete naivety is often trying. Ultimately eliciting little sympathy, I found myself greeting his fate with indifference.

The Last King of Scotland is a good movie by virtue of one performance. As political comment it moves too swiftly over many details, but as an indirect portrait of Idi Amin it is compelling viewing.

2006 (pt1)

As the brash and unruly cinematic beast that is 2007 plays out it's opening act, it would seem prudent to take a moment and reflect on it's strange predecessor. Scarred by a soulless Summer season and some high profile disappointments, was 2006 a good year for movies?

A small disclaimer: Despite best efforts I still managed to populate a list headed "stuff I missed but wished I hadn't". Prime amongst them indie darling Little Miss Sunshine, garnering high praise from pretty much everyone. Stranger Than Fiction, Will Farrell does his Truman Show and proves he's a good actor as well as a leading comic. Also the Al Gore fronted documentary An Inconvenient Truth, Luc Besson's Angel-A, and Marie Antoinette (come on, it has New Order on the soundtrack!). Still, I guess that's what DVD rental is for.

Twelve months on and it's easy to forget how strongly 2006 opened. Politically minded movie making was back on the bill, challenging audiences on a number of issues. Lord of War took on the small arms trade, highlighting the hypocrisy of Western government policy. (It also features a brilliant performance from Nicolas Cage, a morally empty yet strangely compelling arms dealing protagonist.) Next was a black and white slice of near perfection Good Night, And Good Luck. Directed by George Clooney, this look back at one of the high profile media clashes of the McCarthy era was eerily identifiable with our own troubled climate. Clooney cropped up again not long after in Syriana, a complex weaving of storylines revolving around the oil industry and it's inexorable link to the troubled Middle East. As if that wasn't enough, Steven Speilberg (of all people) then gave a thoroughly gripping account of Mossad retaliation for the Black September incident in Munich. Phew, it was shaping up to be a memorable year.

But it all went strangely wrong. In the run up to the Summer blockbuster season, several smaller projects disappointed. V for Vendetta was a pale shadow of it's source material, and proved once and for all the Wachowski brothers screw up every film they touch by tacking on a "redemptive power of love" ending. Underworld Evolution had it's moments of mindless fun, but ultimately proved underwhelming. Things then proceeded to get even worse with the frankly appalling Silent Hill; disturbingly atmospheric visuals, but little in the way of narrative or acting ability.

The big guns were on the horizon though, and Tom Crusie vehicle Mission Impossible 3 was first on the scene. Despite the lukewarm reaction, this turned out to be a first rate popcorn action flick. Skillfully tackled by J. J. Abrams, it would be the only major flick that delivered during those long sun drenched months. Slick, entertaining, and oh so enjoyable to watch. Which is more than can be said for the superhero outings that followed it. X-Men 3: The Last Stand was a disappointing end to the series. A convoluted mash of poorly realised ideas, and far too many characters for anyone but the fanboys to care. If only Brian Singer had stayed on as director, it may have been so much more; or would it? Jumping ship as he did to helm Superman Returns, which sadly proved a little underwhelming. Plenty of introspective character brooding and questioning the need for a hero, let down by being overly long and the fact Superman is just a little too invincible.

So leave it to Johnny Depp and his piratey chums to prevent the cinema audiences from leaving for good. With the second longest title of the year, Pirates of the Caribbean: Dead Man's Chest was good old fashioned swashbuckling family entertainment. It was a good forty minutes too long, but after the dire outings that preceded it I wasn't going to complain too loudly.

A tumultuous ride thus far, where we on the verge of an up turn in cinematic fortunes?

Bond

Having loomed large over the year's cinematic release schedule, taunting fans and skeptics alike with promises of a bold new direction, it's finally here in our cinemas... and it's good. Oh how it's good!

One of cinema's longest running series, the Bond movie is no stranger to reinvention. On Her Majesty's Secret Service, For Your Eyes Only, The Living Daylights, and Goldeneye have all sought to strip back the more frivolous elements to expose a leaner, tougher, and more satisfying Bond. New Zealander Martin Campbell (the man who helmed the last overhaul) has done what few thought possible: eclipsed his previous directorial effort and given us the darkest, most honest Bond movie yet.

Based on the first of Flemming's novels, Casino Royale is the last to be transferred to the big screen. It's Bond's first mission, having just made the two kills necessary for double-o status, and he's going to have to adapt his thuggish style quickly if he's to succeed in his new role. After a risky money making gambit is foiled, terrorist banker Le Chiffre is in desperate need of clawing back the lost capital before his unsavoury clientele come looking for him. Cue a high stakes game of poker with a ten million buy in, and MI6's best card player there to stop him from winning. Can Bond keep his ego in check and stop Le Chiffre?

Daniel Craig is a perfect fit for Flemming's much loved British spy; a believable mix of sophisticated, charming, caustic, and ruthless. More importantly this is a Bond that is fallible and rough round the edges. Mistakes are made and harsh lessons learnt as he seeks to refine his craft. Along with the darker, more complex spy, come some of the most gritty and realistic fight scenes yet. Bond is a licenced killer, and we are not spared from the ugly violence that is his stock in trade. During the lengthy casino segment, this brutality is perfectly juxtaposed with the smooth tuxedoed playboy exterior. Craig handles both sides of the character brilliantly, and you really believe he is Bond.

Equally impressive is Eva Green as the fiery, stunningly gorgeous Vesper Lynd. The most desirable Bond girl ever, early scenes between her and Bond are laced with fierce yet flirtatious dialog. Vesper challenges Bond on many levels, and the relationship between the two characters proves a pivotal moment in the movie. And those eyes... how impossibly attractive are they?

The back to basics approach pays dividends elsewhere. The central Poker game is filled with edge of the seat tension. Watching the cards slowly turned over, wondering who will win the hand, it rivals that of any action sequence. Exotic locales (one of the original key ingredients of a Bond film) are back to the fore. Sweeping aerial establishing shots over lakes and mountains act as jaw droppingly vivid portraits of the mostly European setting. This is a movie that cuts to the heart of what makes Bond so appealing to so many.

It's not without a few faults however. At 147 minutes this is a long movie, and it doesn't always use the time to best effect. The action driven first act, whilst viscerally entertaining, does little to advance the story. Conversely, a key relationship later in the movie feels a little rushed in places robbing some of it's believability. In light of all the movie accomplishes however, these are minor issues. Besides, when bond finally gets to deliver that line and the music starts up, you'll a have a grin on your face so large it will obscure any shortcomings.

Casino Royale should exceed every bodies expectations. Craig gives us a complex Bond with a depth of character unheard of in previous outings. Campbell has done the impossible, making a tense character driven installment that doesn't rely on gadgetry and set piece action. I doubt anyone will envy the Director who has to follow this. Delivering on everything that it promised, Bond is most definitely back!

The Prestige

"Are you watching closely?"... if your answer to Christian Bale's opening line isn't a resounding "yes" then you are in trouble. Director Christopher Nolan has crafted a cinematic slight of hand worthy of a great magician, and it demands that you pay very close attention.

Set in late Victorian England, The Prestige is a tale of two up and coming stage magicians. Robert Angier (Hugh Jackman) is the stylish showman, whilst Alfred Borden (Christian Bale) the working class man dedicated to his craft. Beginning their careers together -as assistants for an aging performer- a tragic accident during an act gives rise to a irrecoverable rift between the two; in turn leading to a bitter, long stretching rivalry.

Told through a complex narrative structure layering flashback within flashback, each switching the point of view between the two magicians, the opening twenty minutes are balanced precariously between compellingly convoluted and "what the fuck is going on?". Once the elaborate framing is in place though, the mystery of the story will have you firmly ensnared. Sadly this makes it all the more difficult to talk about the story; how much to give away? what details can safely be revealed? In truth the answer to both those questions should probably be "none" (but that would make for a pretty short and useless review).

When Borden performs the ultimate magic trick, Angier becomes obsessed with discovering the secret of how it is done. Enlisting the help of his stage engineer Cutter (another excellent performance from Michael Cane), they devise their own version of the trick for the finale of Angier's show. Despite the rapturous reception of the performance this isn't enough for Angier, and his obsession with how Borden does the trick becomes all consuming. The repercussions of this mark a turning point in film's mood, mystery and intrigue giving way to something dark, sinister, and unsettling.

Watching closely will reap rewards elsewhere. This is a lavishly shot piece, rich in period detail. Performances from everybody (including David Bowie as the odd Nikolas Tesla) further enhance the illusion of the Victorian era. This is a very character driven movie, preferring to progress plot through dialogue rather than flashy set pieces. That's not to say the movie is light on visual spectacle, far from it, as impressive stage shows complete with their Gothic like apparatus depict the magicians in the arena they live for. It is also a movie littered with visual symbolism and foreshadowing, a detail certain to repay repeat viewings.

Twisting and turning it's way to the big reveal, Nolan boldly dispenses with the notion of "good guy" against "bad guy". Falling deeper into the moral vacuum of their obsession fulled rivalry, neither Angier or Borden holds the moral high ground. With each twist of trickery your loyalties will shift between the two characters to the point where it can be difficult to sympathise with either of them. It's this that will prove to be the sticking point for many people, more so than the convoluted narrative or drawn out revelations. Whatever your feelings toward the characters and what they have become, the masterful storytelling and brilliant performances will draw you willingly to the end. To say any more than that would spoil the surprise.

An expertly crafted piece of storytelling, The Prestige is an intriguing and chillingly dark exploration of single minded obsession, revenge, and sacrifice to an art. One that will stick splinter like in your thoughts long after the final curtain.

Get your arse to a cinema!

It's here! The month all us movie watchers have been waiting for is finally upon us. To some it is merely called November, but to others this is the Golden Month of the calender; a time when release dates of the greatly anticipated movies coalesce. Indeed so busy have I been out watching these giants of the release schedule, I've neglected to keep this dusty unread corner of the blogosphere up to date. But fear ye not; it's Sunday, and I'm about to put the coffee on!

The Last Kiss

Staring Zach Braff, this remake (oh how I long to start a review without having to say that) of Italian flick L'Ultimo Bacio has been eagerly anticipated by the Garden State crowd. This time though Braff's influence is solely in front of the lens, with director Tony Goldwyn behind it. Can this tale of neophyte thirty somethings leave the same mark on it's audience?

Michael (Braff) is nearing the age all those who've seen Logan's Run dread. Far from being chased by a man in a black and white jumpsuit, he finds himself in a loving relationship with the beautiful and recently pregnant Jenna (Jacinda Barret). Life couldn't be better for him, or could it? (or could it?... etc.) Like his similarly aged friends, Michael is struck with anxiety about his future. Fearful that everything is laid out and no more surprises are in store, he finds temptation at a wedding reception in the delightful form of Kim (Rachel Bilson).

At it's heart this a story about the difficulties of relationships, and particularly the stupid decisions men often make when they feel trapped by them. For the most part it works; but watching these grown men and women struggle and fret over the details of there protected, actually rather comfortable lives, it isn't always convincing. There is a sore lack of communication between the couples, which doesn't really gel with the point they are supposed to be at in their lives. You'd expect a greater deal of emotional maturity to be on display.

Despite these issues, solid performances from the main cast and the issues raised by the script make this an engaging (if not memorable) watch. The subplot involving Jenna's parents actually makes for one of the most believable elements of the movie, but it takes a back seat to the troubles of the younger couples. Credit is due for not offering any easy answers to the unhappy situations faced by the characters (something of a surprise for a Hollywood studio flick); and the ending is suitably non-committal.

Probably the most adult relationship movie you'll see this year, The Last Kiss doesn't quite live up to it's potential.

The Departed

The man with that pair of eyebrows is back behind a camera once more. This time he is helming a remake of Infernal Affairs (which I'm ashamed to admit I still haven't seen), the epic Hong Kong gangster flick from 2002. Transplanted to Irish mob run Boston, is The Departed 150 minutes of Scorsese at his harsh and violent best?

A tale of two rats, The Departed centers around the intertwined lives of two people from opposite sides of the law. Billy Costigan (DiCaprio) is a failing state police officer given the chance to go undercover as a mole in Frank Costello's (Nicholson) Irish mob. Counterpart Colin Sullivan (Damon) is a Costello mobster, undercover as a police officer in the department tasked with bringing down Costello. Suspicions and accusations give rise to a series of violent encounters as both moles are tasked with finding out the identity of the other.

With twenty minutes of back story before we even see a title card, you know your in for an epic journey. Thankfully Scorsese has paced things perfectly, and this tightly crafted tale uses every minute of it's lengthy runtime to full effect. Intense character driven scenes are punctuated with brutal, visceral moments of violence giving an engaging rhythm to the unfolding story. Despite the often harsh images things never feel gratuitous, just grittily realistic.

Assembling possibly the finest cast in a movie this decade, to say The Departed is excellently acted would be an understatement of vast proportions. I'm no fan of DiCaprio, but both he and Damon are eminently believable in there roles as the men with double lives. Jack Nicholson is ideal as the mob boss Costello, keeping scenery chewing to a minimum. Supporting the main three we have Martin Sheen, Alec Baldwin, Ray Winston, and a brilliantly foul mouthed Mark Walhberg, all on the best form of their lives. Relative newcomer Vera Farmiga plays an important role as psychologist Madolyn, caught in between DiCaprio and Damon; it's clear people will be taking note of her after this.

Faulting the movie is hard to do without resorting to nit picking. There are some real jaw on floor shocks as things come to a head, but no real twist in the tale; a shame given the subject matter. Farmiga's relationship with DiCaprio and Damon doesn't quite reach the level it clearly wanted to achieve. One or two of the Boston accents are a little less than convincing at times... but this is all academic. When a movie is this good, you'd be foolish to dwell on such minor niggles.

Expertly crafted and superbly acted, The Departed is Scorsese's most satisfying movie since Casino. Set an evening aside to catch a master filmmaker at work.

Children of Men

Based on a novel by P.D James, the sci-fi premise of Children of Men is as devastatingly effective as it is startlingly simple: woman can no longer have children. For whatever reason -and thankfully the movie doesn't waste time trying to explain why- no children have been born anywhere in the world for the past eighteen years. It sets up the bleakest of situations, one bereft of any hope and with a seemingly inescapable conclusion. At last, a fresh and original imagining of that genre staple "the end of the world".

Political activist turned government bureaucrat Theo (Clive Owen) is our world weary guide through this hopeless landscape. Confronted by his one time love and still very much active activist Julian (Julianne Moore), he is asked to help transport a young woman to safety. It isn't long before Theo discovers the importance of the young woman comes from her miraculously pregnant state.

Despite the sci-fi tag, this is a very contemporary vision of societal chaos. Images from the current turmoil in the Middle East are transplanted to a totalitarian England, where they are skillfully blended with our own tabloid picture of social decline. England soldiers on, a paranoid police state ruled by fear and hatred. Immigrants are locked up in concentration camps, large swathes of the populace have resorted to thuggery and violence, and terrorist groups bomb and kill to reach their political aims. It's all the bits we don't dare face up to, logically extrapolated to some future point.

Shot in a gritty documentary style, the handheld camerawork and long takes place you right in the heart of this world. Most impressive is the final act shot amongst a decaying war torn immigrant concentration camp at Bexhill; evoking the imagery of embedded journalists in Iraq or Afghanistan. You feel like your there, ducking the shots and climbing the rubble yourself, instead of watching Clive Owen do it.

Surprisingly there are a great many funny moments in the movie; though admittedly these all occur in the first hour. Watching someone try and jump start a car has never been so amusing. Plus special mention must go to Micheal Caine as ageing, pot-smoking hippy Jasper; great performance.

Solid, thought provoking, and visually memorable movie making. Like the best science fiction, Children of Men gives us a world that is at once terrifying, yet uncomfortably recognisable. Why don't we do this kind of thing more often?

DOA: Dead or Alive

Playing out like a fourteen year old schoolboys wet dream, DOA (to use it's nom de jour) is the movie adaptation of the massively successful beat 'em up cum boob simulator videogame. As a genre, this hasn't exactly been cinema's finest hour. With the disappointing Mortal Kombat and frankly appalling Street Fighter as stable mates, can DOA reign victorious?

Well, not really. Like the aforementioned attempts at translation to the big screen, this is ninety minutes of laughably bad trash movie making. Catch it in the right frame of mind however, and it does at times manage to achieve the hallowed status of "so bad it's good!". Crap dialogue, gratuitous female close-ups, and "I've just learnt how to act" performances at least serve to make this a memorable cinematic outing. Even if it is for all the wrong reasons.

Director Corey Yuen is no stranger to the martial arts movie, but the complete one-dimensionality of the source material is ultimately what lets him down. He deserves credit though for embracing DOA's videogame roots. This shows in a number of devices from character intro sequences, signature moves in fight scenes, garish sets, and (of course) gratuitous exploitation of the young female casts assets. Tongue is firmly in cheek here, which ensures proceedings are bad but bearable.

Sadly the biggest let down are the fight sequences. The second big selling point of the game (after excessively bouncy girls bits) is each character employs a different fighting style. Unfortunately with the movie, Holly Vallance, Devon Aoki, and Sarah Carter all look like they were trained by the same instructor. It's up to Jamie Pressly and her pro-wrestling character Tina to add variety to the action, which she does admirably. Fans of martial arts will be disappointed, but fans of the game will no doubt take pleasure in the many high kicks performed in tiny skirts.

DOA fails to KO the audience in the way it wanted; but when a movie has a fight scene featuring Holly Valance in a bath towel, can we really say it was a complete failure?

Noir Heaven?

Adapted from a James Ellroy novel, De Palma's The Black Dahlia takes us back to Hollywood's golden age when film noir was king of the screen. Set against the backdrop of a grisly real life murder -that still remains unsolved- we follow the fictional tale of LA cops Bleichert (Josh Hartnett) and Blanchard (Aaron Eckhart), and girl in the middle Kay Lake (Scarlett Johansson).

It takes a while to engage with the movie, but once the opening thirty minutes is over we have a good handle on the principle characters and their relationship. Cops Bleichert and Blanchard are paired up working warrants, and it's not long before they come across the horribly mutilated corpse of young aspiring actress Elizabeth Short, nicknamed the black dahlia. Very quickly Blanchard looses himself in the case, obsessed with cracking it.

For all the intrigue and real life mystery surrounding the case, the story chooses to largely ignore this and instead spin us a well trodden yarn of corruption in 1940's LA. The murder is really little more than a backdrop for most of the movie's runtime, and it's the three way relationship of the principle characters that takes centre stage.

Performances are very good all round; the cops are interesting characters, and for the most part narration by Hartnett works well. Scarlett has the perfect look for film noir, but for some inexplicable reason spends all her time in a beige cardigan.

Perhaps the movie's greatest achievement is reminding us how rich a genre film noir is; readily bringing to mind a score of movies from Hollywood's golden age. Visually it captures the mood of the period well, and is further aided by plenty of nods to conventions of the genre. Dialogue has enough classic lines to get you grinning, but lacks consistency; some clunky utterances conspire to spoil your enjoyment.

It is well into the movie before investigation of the murder resumes in earnest. By this point there is scant runtime left, and we are thrown a convoluted and confusing mess of exposition, attempting to neatly tie the separate threads together. Sadly a lot of it comes off as unbelievable and -in the case of the murder- almost laughable.

Not the Oscar contender everyone was expecting. The Black Dahlia is mixed, confusing, and ultimately underwhelming story telling.

Volver

Highly praised at Cannes earlier this year, Volver (meaning 'to return') is Spanish director Pedro Almodovar's latest work. Set around La Mancha -the area in which he grew up- it is a personal movie about the bond shared between women. The ever beautiful Penelope Cruz leads a strong Spanish cast, that also marks the return of Carmen Maura to an Almodovar picture.

After her lecherous father drunkenly tries to abuse her, young Paula (Yohana Cobo) accidentally stabs him in the struggle. Mother Raimunda (Cruz) wastes no time in helping her distraught daughter, by disposing of the body and covering up the absence of her now late husband. Whilst occupied with such clandestine activity, Raimunda's sister Sole is left to attend a family funeral, only to discover something completely unexpected: their mother has returned. Their dead mother.

At it's heart this is a movie about the strong bond between women, especially the mother-daughter relationship. It's an all woman show, where tragic events in life (and the movie serves up plenty) are handled through female resourcefulness, strength of character, and the support of one another. The female characters are portrayed superbly by the cast. Cruz giving perhaps the best performance of her career to date; believably conveying the complex emotional challenges faced by Raimunda.

Prosthetic arse? It seems the only part of Cruz's performance that needed assistance, was portraying the distinctive La Mancha rump. Almodovar has a clear fondness and appreciation of the female form, reflected in many perfectly framed shots that lovingly accentuate feminine curves. Cruz is simply enchanting to watch, with scenes in the restaurant particular standouts. There is a colour and vibrancy to the movie that makes watching it a visual joy.

Amongst the life of working class Madrid, Almodovar seamlessly weaves a tale of suspense, superstition, and soap opera drama. There are moments when the latter threatens to unbalance the piece, teetering on the edge of melodrama, but such concerns ultimately prove unwarranted. There is also plenty of genuine humor throughout the movie, despite the emotional weight of what unfolds. The different threads are pulled together nicely, and while the ending may strike as a little haphazard, it is the ideal place at which to leave Raimunda and is perfectly fitting.

Volver is an engaging and beautiful piece of Spanish cinema, from a director at the height of his artistic power. A treat for any fan of cinema, but clearly one that will resonate strongest with a female audience.

The Sentinel

Like leaving a restaurant and still feeling hungry, coming home from the cinema and immediately needing to watch a DVD* is a sure sign something was fundamentally lacking.

The Sentinel is a thriller about a mole inside the Presidential Secret Service. Long serving Pete Garrison (Michael Douglas) comes under suspicion, and it's up to fellow agent and former friend David Breckinridge (Kiefer Sutherland) to track him down and find out the truth. On paper it sounds much like any other thriller cinema or TV has given us over the years; but these types of movie don't have to be original to be entertaining and fun. Sadly, director Clark Johnson has aimed for mediocrity, and missed. Spectacularly.

It's almost inconceivable, but he has somehow managed to sap all trace of peril, tension, or excitement from each and every scene. Events that should be fraught with a heightened sense of danger, are bland and boring. How the hell has he managed it!? You would think a small element of fun and entertainment would slip through, but no. Some combination of fluke, and lack of skill has conspired to deprive us even of that.

Ironically it starts out really well. The opening sequence gives us a fetishistically detailed look at the back stage machinations that go into even the simplest of Presidential appearances. Plenty of codewords and radio chatter, sniper rifles and men with big binoculars; it's the kind of escapist stuff cinema was made for. Garrison and Breckinridge are quickly introduced, their relationship nicely established. Follow this with an unexpected assassination of a Secret Service man, and you honestly think it'll be a good ride; but these opening fifteen minutes are the only ones that work.

Trying to pinpoint the cause for such crushing disappointment is an almost impossible task. Douglas looks like he faxed in his performance whilst on a break from acting. Sutherland, famed for his tough Jack Bauer persona in 24, is given a character so "by the book" you long for him to pin someone against the wall, poke a Microtech Halo in his face and scream "Damn it! Tell me who the mole is or I will kill you!". The story is poorly constructed; the bad guys barely able to pass as one-dimensional. This is made all the more inexcusable when you realise one of the writers has seminal eighties cop thriller To Live and Die in L.A to his name!

Don't let the casting of Kiefer Sutherland and thoughts of 24 lure you in. The Sentinel is uniformly dull; a thriller that doesn't thrill.

(*For those who care to know, it was Ridley Scott's 1989 thriller Black Rain. Arguably one of the finest contemporary movies of that decade, and still criminally overlooked. It too stars Micheal Douglas; though in this one he's actually bloody good, and clearly at a point in his career when he cared about his acting.)

What Does a Scanner see?

Fred (Keanu Reeves) is a narc trying to locate the suppliers of drug Substance-D. Undercover as addict Bob Arctor, Fred's fragile grip on reality slips into paranoia and disorientation when asked to spy upon himself.

Putting Philip K. Dick's masterpiece A Scanner Darkly on screen was never going to be an easy task. A deeply personal novel, it is an honest tackling of the fractured and paranoid nature of drug use. This alone makes it a difficult work to approach, but the added complication of showing a "scramble suit" (a device masking a narc's identity with constantly shifting fragments of other people) on screen also lends it a technical complexity. Thankfully the rotoscoping technique employed by Linklater (pioneered in Waking Life, and improved upon here) is a perfect fit on many levels.

Famed for his slacker credentials, Linklater has assembled a fitting cast for a movie about drug taking. Robert Downey Jr. is particularly excellent, stealing every scene he is in as the manic, motor mouthed Barris. The scenes shared with Arctor, and Luckman (Woody Harrelson) have a natural chemistry that is a joy to watch; thanks in no small part to the many memorable lines of stoner dialogue. It's only the character of Donna, played by Winona Rider, that fails to make much of an impact.

The movie can feel a little disjointed at times, making it difficult to follow. For the first two thirds there is a distinct lack of direction, but a lot of humor and memorable scenes are present. It's once Bob is unknowingly asked (thanks to the scramble suit masking his real identity) to spy on himself, that the sense of deep paranoia sets in and begins to unsettle you. At the point Bob begins talking about himself in the third person, there is a painful awareness that you are witness to the complete mental collapse of the character. It is a saddening realisation, dislodging the stoner humor of earlier scenes. You are left facing the uncomfortable reality of the consequences of the characters decisions.

When the story kicks in during the final half hour, a myriad of philosophical ideas covering free will, God, identity, totalitarianism, and a host of other Dickian staples are rapidly thrown at us. This leaves you with a feeling it is all over too quickly, something at complete odds to the directionless nature of the rest of movie. Though perhaps this is intentional, mirroring the author's views on drug taking. Reading Dick's note to fallen friends before the credits roll is a soul wrenching experience. It firmly reminds us this is a story from someone who experienced it first hand. Any accusation the anti-drugs message conveyed is heavy handed is completely without merit.

Linklater has skillfully handled the adaptation of an important, personal, and complex novel. Arguably giving us the finest cinematic translation of Dick's work to date.

Nacho Libre

From it's opening scenes, the quirkiness of Nacho Libre is immediately apparent. Though what else could the outcome be when Jared Hess (Napoleon Dynamite) casts Jack Black as a reluctant Mexican friar yearning to live the life of a Luchador?

Good natured movies seem an increasingly rare breed these days, so it's always a welcome pleasure when stumbling across one such as this. Odd and a little slow at first, it isn't long before finding yourself warming to the characters on screen. The movie weaves a simple tale of friar Ignacio 'Nacho' Libre, who decides to moonlight as a Lucha Libre wrestler and use the money to give the orphans at his church a better life. It also wouldn't hurt to acquire a little fame, victory, and the affections of Sister Encarnacion (played by the impossibly pretty Ana de la Reguera) along the way. So with scrawny street urchin sidekick Esqueleto in tow, the ring beckons.

The wrestling scenes are a one joke show, with the two loser heroes proving far from fighting fit. Thankfully it's a joke that manages to stay the course of the movie, helped in part by the short runtime. Humor outside the ring is slight (and stilted at times), though good scenes are spread throughout. Nacho and Sister Encarnacion sharing toast in their chambers is an early standout; both funny and sweet in equal measure. While not the out and out comedy painted by the trailer, it certainly has enough moments to keep it in your memory.

Ultimately it's the honesty and innocence of the main characters that makes the movie so likeable. Nacho is endearingly foolish in his quest, and his relationship with Sister Encarnacion is touchingly sweet. All of which perfectly sets the movie's innocent tone. The ending may never really be in doubt, but you'll be rooting for the good guy and leaving the cinema with a smile on your face.

Fried Gold

Hot Fuzz is on it's way! A teaser trailer for the next project from Simon Pegg and Edgar Wright (Shaun of the Dead, Spaced) is out there now in cinema land. Looks like they've done it again; successfully bringing cult Brit comedy with a cinematic sensibility to the big screen. Plenty of guns too. Sadly not out till Feb 2007. Will have to sit and wait impatiently till then.

And isn't that what we're all asking, "Where's my elephant?"

Martial arts movies seldom have (nor need) good dialogue; but when the line "Where is my elephant?" crops up with alarming frequency, you know a new precedent has been set. Warrior King can confidently lay claim to setting it.

It's not as good as Ong Bak. There, that's that out the way. Now the good stuff: Tony Jaa is still amazing to watch. Unbelievable acrobatic tricks are back, the obligatory chase sequence, as are the fight scenes that hurt to view. In fact there is shedloads more of it all this time round. Like his first movie, you will end up excitedly talking about your favorite moments with your mates over a pint. But the plot... what the hell happened?

One story tells around 40 minutes were cut in editing to get the movie down to an action audience friendly length. I don't know if that's true, but it's not likely to have been the fight footage that was pruned. Perhaps that's where the plot got to. In a movie like this it shouldn't be a big deal; but after an opening 15 minutes that manages to pack in plenty of Thai culture, the plot just falls apart. What we're left with is a series of action sequences strung together with some loose snippets of story. And it is a shame! Ong Bak was no masterpiece of storytelling, but at least it provided pacing and structure to the action (it was also coherent, something Warrior King's story doesn't always manage).

The biggest mistake though is having Thai actors speak parts of their dialogue in English. I have a great respect for people who can speak more than one language. Unfortunately it just doesn't seem to work. (Personally I'm rubbish at languages. Even when I had a French girlfriend the only thing I managed to learn was "puis-je regler par carte de credit? / can I pay by credit card?". Never say that to a woman.)

I'm being too harsh here. Afterall I did come out having enjoyed the movie. It's easy to talk about the faults in a movie like this; the good bits you'll just have to go and see for yourself, as words seldom do them justice. You'll watch this for the fight scenes, and you'll watch this for Jaa. The one on one encounters take a sideline to impressive group fights (though look out for a fantastic Muay Thai vs Capoeira sequence late in the film). Of these the most stunning is a 4 minute continuous take that sees Jaa work his way up the staircase of a restaurant, floor after floor of bad guys trying to stop him. Amazing stuff.

Silly, enjoyable, and just about forgivable. Warrior King will entertain the martial arts fans no problem. Tony Jaa is a legend. Whatever happens with his next movie, I'll be there to watch it.