Based On A True Story

The best movie ever made. End of.

Utterly remarkable and deeply harrowing depiction of one of the worst atrocities is human history. Outstanding in every department.

Stunning bio pic and probably Scorsese's best non-gangster related piece. De Niro is remarkable as the thoroughly unlikeable LaMotta, living the excesses and emptiness of the american dream. The boxing scenes are particularly gripping and brutal, and capture the violence and ugliness of the sport that feelgood flagwavers such as Rocky always gloss over.

The Elephant Man tells the true life story of John Merrick, a man dreadfully deformed from birth who was saved from a freak show by a kindly doctor to become the toast of Victorian society. The kind of visual gimmickry you'd expect from David Lynch is glaringly absent from this beautiful biopic, he instead tells the story through atmosphere and sensitive character study. It truly is an acting masterclass, with remarkable performances from some of the best British actors ever to tread the boards but it is John Hurt's deeply moving portrayal of the man himself that rightfully takes centre stage. It shows both the heights of kindness and depths of cruelty the human animal is capable of, and instills real emotion and empathy from the viewer without the kind of cynical manipulation and button pushing that most directors resort to. To my mnd, this is still Lynch's best film and anyone who does not shed a tear during its duration is surely made of stone.

Steven Speilberg's coming of age. A beautiful piece of film-making in all departments, telling an incredibly shocking and moving story

Two of the best character actors in the business unite to tackle the topic of violence and race hate in the deep south. Terrifyingly, it was based on a true story.

American Gangster tells of the rise of 70s Harlem drug baron Denzel Washington and the efforts of crusading detective Russell Crowe to bring him to justice. Once again Ridley Scott proves he is one of the best directors working today, brilliantly bringing the Harlem of the period to life and essentially telling two tales in tandem in an intelligent and always entertaining way. Denzel is always better in his shadier roles, and this for me has to be one of his best. It does not have the grit and intensity of Scorsese's gangster pieces, and the action/violence is sparse. It's more in the vein of something like Infernal affairs in its treatment of the story and Scott's pacing is spot on, as the film despite its two and three quarter hour length never drags. The climactic shoot out is brilliantly done, delivered by Scott in a way you know his brother is completely incapable of; his version probably would have been an unwatchably choppy hallucinogenic migraine. I would have liked to have seen Crowe and Washington sharing the screen a bit more often, but otherwise it delivered on every level. It doesn't challenge the classics, such as The Godfather or Goodfellas, but more than holds its own against other heavyweights such as Donnie Brasco and The Departed.

Fearless is based on the life of Huo Yuanjia, a martial artist who became the figurehead of Chinese national pride at the turn of the century. The format is all very familiar; a famous fighter becomes drunk on his own success until his arrogance results in tragedy leading to his downfall. He learns what is important in life and overcomes adversity to fight a final battle to restore the pride of his country. Yes, Rocky, The Karate Kid and a hundred others have followed this formula, but the fact that this is in fact based on a true story gives it much greater credibility. I would also have to say that, although I may be biased, the way the Chinese approach the subject matter is something akin to comparing a piece of artful, moving poetry to Hollywood's ham-fisted and tacky greetings card rhyme. Full of the kind of beautiful imagery you'd expect from a nouveau martial arts film, and typical of the kind of superb action sequences you'd expect from Jet Li and Yuen Wo Ping (fight choreographer for The Matrix amongst others) it's yet another example of Asian cinema at it's finest.

Sumptuous adaptation of the stage play based on the life of the great composer accompanied by some of his greatest works. Funny, moving, and rightly (for once) multi Oscar-winning

Based on true life memoirs of people who were actually there, this starkly gripping depiction of the last days of the third reich can hardly be described as an enjoyable experience. The german people are suffering terrible hardship as the attacking Russian forces reach Berlin while Hitler's cowardly henchmen are attempting to make their escape or plotting the murder/suicides of themselves and their families when faced with the consequences of their monstrous actions. Lynch mobs roam the streets dispensing "justice" against suspected traitors (who in Hitler's deranged eyes seemed to include virtually everyone) and ill-equipped professional german soldiers are ordered to fight to the death in the face of certain defeat. The entire cast of the film are superb, but it is Bruno Ganz's remarkable performance that is the centrepiece of the film, his portrayal of Hitler veering between twitching broken shell and wild-eyed delusional maniac (who even at the end still commanded occasionally fanatical belief in him from some of his people) is totally convincing. It is still difficult to fully comprehend what you are seeing even as it happens in front of your eyes, and I was left feeling shellshocked at the film's end; I intended to watch another afterward, but everything else just seemed silly and trite by comparison. Possibly the most important film made about WWII, and something everyone simply must see.

A remarkable film about a remarkable man. And proof that the academy can (very occasionally) get it right. One of the best biopics ever made.

Legendary outlaws Butch and Sundance rob one too many trains and an elite force of lawmen force them to relocate to Bolivia. Yet another of Hollywood's romantic reinterpretations of history featuring outlaws who are lovable rogues who don't want to hurt anyone, George Roy Hill's classic western actually features little in the way of gunplay (although the final shoot out is well worth waiting for). The core of the film is Butch and Sundance's enduring friendship and as such it concentrates far more on warmth and humour than bullets and blood; in fact you have to wait til near the end before a single shot is fired. Often when two major stars are paired up, ego prevails and one-upmanship can ruin any potential on-screen chemistry, but once in a while two stars can strike up chemistry that is pure cinematic gold. This is the case with Newman and Redford (a partnership obviously and consciously aped by Clooney and Pitt in the Ocean's films), and its a shame they didn't make more films together. The dialogue is always witty and fun, and the characters are all very endearing; even the romance with Katharine Ross is refreshingly schmaltz-free and understated, and is all the more charming for it. The only dark cloud on the horizon are the cornball musical interludes which some may find some kitsch enjoyment in, but I personally found them dated and unnecessary. This flaw is minor compared to the hugely entertaining whole and it features one of the best endings ever filmed.

Removing all the glamour usually associated with the cinematic version of the mob, Pacino's character is a slightly pathetic, shambling figure, trying to get ahead in the criminal underworld without the intelligence or faculties to do so. The result is a believable and human portrayal of one of life's losers. A gangster movie with a difference.

In the summer of 1972, a Vietnam veteran and an old comrade attempted to rob a Brooklyn bank so he could afford to pay for a sex change operation for his gay lover. When the heist goes awry, the situation soon degenerated into a media circus. This story is definitely a case of fact being stranger than fiction because bizarrely, this is based on a true story. Another classic thriller from Sidney Lumet's long career, this also is one of Al Pacino's defining performances but as is the case with a lot of his work, it's a bit of a one man show. The one note format (unavoidably so because of the source material) really just consists of Pacino talking to the hostages-talking to the police-talking to the hostages etc etc through til the end. All the best scenes involve him dealing with his "family", namely his amusingly awful wife, having his mother talk about embarrassing personal details literally in front of the whole world, and a great turn from Chris Sarandon as his hysterical gay lover. Everyone else, even John Cazale as his partner, gets side-lined and I think this is the only real flaw in the film. That and because the story is told from the point of view of the hostage takers rather than the police, although it does give a familiar story a slightly different spin, it removes a lot of the tension from the situation as you never really feel like the hostages are in any danger. If there was a little more dialogue between Al and some more fleshed out characters, it would have had a little more emotional involvement for the viewer. Having said that, it's still a fascinating period piece, especially considering its roots as a true story and a must for all fans of Pacino.

Classic dramatization of the Watergate scandal that's factually fascinating, and the double act of Hoffman and Redford exude considerable charm and charisma.

Following the lives of a group of friends and their extended circle growing up in the slums of Rio De Janeiro, this story will strike a chord with the poor and desperate around the world. Honest and hardworking Rocket slaves away for a pittance while watching brutal hoods take everything they want without conscience. The authorities care little for this unwanted underclass so the ruthless run free to perpetuate an endless cycle of violence when desperation gives way to greed. This film is a stunning experience as you watch children play cops and robbers with real guns as only the most coldblooded and ruthless survive; the cinematography is truly gorgeous, almost too much so considering the subject matter. The performances are also totally convincing all round; even to the smallest child. Direction is similarly flawless, brilliantly revisiting characters and plot points at strategic intervals and masterfully recreating a sense of time passing and the evolution of this criminal "dynasty", only for it to be shockingly ended by the next generation. Add to this the fact that this story is actually true and you have a film of incredible resonance. One of the best crime stories you will ever see.

John Ford's My Darling Clementine is one of the earlier treatments of the Wyatt Earp story and it's still one of the best. Henry Fonda is as rock solid as always as the reluctant law man but it is the supporting cast that adds the necessary spice to the story, particularly Walter Brennan who shows there was far more to him than the grizzled old caricature that became his trademark as the callous and black hearted patriarch of the Clanton clan. Victor Mature's limited thespian talents actually work here as his Doc Holliday is as stone-faced as he is self destructive and Linda Darnell is sex on a stick as the extremely noirish and fiery tart with a heart. There is also some great night time photography adding to its noirish feel and the final showdown is realistically atmospheric. It may lack the grit and spectacle of post-Leone westerns but for those who enjoy a traditional tale of the old west, this is an enduring classic.

Tim Burton's affectionate portrait of the producer of some of the worst movies in cinema history. Depp's portrayal of an eccentric and infectious enthusiast is very endearing and Landau is magnificent as an ageing Bela Lugosi struggling with a drug habit.

The life of drug dealer George Jung is the subject of another engaging performance by Johnny Depp. The film has a lot of things in common with Goodfellas; the true life story of a man's life of crime, the voice-over, the way the story darkens once cocaine appears on the scene. It even cheekily casts Ray Liotta and a Lorraine Bracco look-alike as George's parents. The main difference is in the tone; it has a gloss that skims over the moral implications of Jung's actions, portraying him as a charming and likeable entrepreneur and never showing the results of his criminal activity. As such it lacks the power and grittiness of both Scorsese's masterpiece and Traffic. Moral implications aside though, it's a well written, well acted and enjoyable tale with a nicely poignant ending.

Braveheart is the (exceedingly tall) story of William Wallace, a man who united the common people of Scotland to rise up against their English oppressors in the 13th century. Of course the historical "facts" vary between the dubious and the ludicrous, particularly those involving the princess of Wales, but I for one am not complaining about having to look at Sophie Marceau. It's easy to pick holes in it's accuracy, but if it were true to real events it probably would be a hell of a lot duller. This film is about rooting for the underdog; cheering on the good guys and booing the bad guys with some fantastically bloody action along the way. Gibson's accent is more Crocodile than Dundee, but he plays the part with just the right mix of charm and humour and has a great supporting cast to back him up, Patrick McGoohan being the best of the bunch as the deliciously malevolent Edward Longshanks (Boo! Hiss!) Often ridiculous, but a hugely entertaining old school swashbuckler. And where else can you see a story where a dirty hankie changes history...?!

Telling the story of a serial killer who terrorized the San Francisco bay area in the late 60s and early 70s, this film is yet more evidence that David Fincher is one of the most talented directors working today. It's perfectly paced, as the narrative switches between the frustrated detectives that seem to hit a dead end every time they uncover a promising suspect and the obsessive-compulsive journalist who cannot allow himself to let the murders remain unsolved. It looks fantastic, Fincher bringing his trademark brooding atmosphere to a frighteningly cold blooded series of crimes (although for me the most disturbing murder scene actually took place in broad daylight) and the top notch cast all deliver. Those who need their stories to be tied up at the end in a nice big bow may not appreciate the open-endedness of the conclusion, but it is based on a true story, so what're you gonna do? Perhaps lacking the character of Fincher's best, but flawlessly executed.

Gripping courtroom drama based on a true story of mistreatment of prisoners that led to the closure of Alcatraz. Kevin Bacon is magnificent as the broken shell of a man caught in the middle of events much larger than himself.

Robert DeNiro and Joe Pesci reunite with Martin Scorcese to tell the story of Sam Rothstein, egotistical boss of a fledgling gambling empire in Las Vegas. The pairing of DeNiro and Pesci is once again electrifying, each personifying the flashier, more respectable surface and seedier, brutal underbelly of the mob controlled casino respectively but ultimately it is their own egoism that becomes their undoing. Comparison with Goodfellas is inevitable, and it does not quite match the quality of Scorcese's masterpiece but then again, not much does. It is rather glossier and less gritty, at least until the brutal climax and for me it concentrated a little too much on Rothstein's homelife but having said that, Sharon Stone is a revelation as his cynical gold-digging wife. A reliable formula executed with panache by an unmatched pairing of acting and directorial talent.

Roman Polanski directs the harrowing story of Wladyslaw Szpilman, a Polish pianist and Jew who survived the horrors of the holocaust in WWII. Adrian Brody' performance is the centrepiece as it is a very personal journey as you watch with despair and revulsion as Polish jews are stripped of their livelihoods, their rights and their dignity by a brutally oppressive regime. It's unusual in that rather telling the story of a man involved in a war, it's more of a spectator's point of view; in fact the later scenes in which Brody is entirely alone, disheveled and scavenging for food in a decimated wasteland feel a little sterile. The absence of human interaction means it lacks the emotional impact of something like Schindler's List, but it is a shocking and horrifying tale, made all the more so when you consider that Szpilman was actually one of the "lucky" ones.

Extremely powerful historical drama about the ordeal undergone by King George III when he was suffering from porphyria, a disease so painful it can be mistaken for insanity. Nigel Hawthorne's performance as the ailing monarch is absolutely astonishing and deeply harrowing.

This Oscar nominated script was actually offered to both Truffaut and Godard, but even they could not have done a better job. Warren Beatty's awkward and impotent Clyde who sees himself as some kind of self styled Robin Hood is perfectly matched with Faye Dunaway's Bonnie, who sees him as a way out of her dreary small town existence. Their relationship is actually quite touching, and there is plenty of warmth and humour as they cut a swathe through a wonderfully reconstructed depression era America, making their inevitably brutal demise all the more shocking and powerful. One of the best crime dramas of the sixties, and the template for the likes of True Romance and Natural Born Killers. And Faye is surely a better cure for impotence than Viagra...

Michael Collins was a pivotal figure in Irish history, and this is a brave attempt to represent a story rarely attempted in mass media by Neil Jordan. Collins was the original "terrorist", and practically invented modern warfare employing guerilla tactics and counter intelligence to fight the British Empire to a standstill, a force he had no chance against using conventional means. This resulted in the treaty of 1922 which saw the country divided for the next 80 years. Liam Neeson is excellent as the pragmatic and larger than life man of the people, and although the film inevitably is rather rose tinted in it's representation of the man (as all of these kinds of biopics are) Jordan's brisk no-nonsense style is never pompous or preachy. The subject matter means that there is a lot more action than most political dramas, in fact it has more in common with The Godfather than Gandhi for the first half of the film. Even the romance with Julia Roberts (who manages a very creditable attempt at an Irish accent) is nicely down played and unsentimental. Portraying yet more of the shameful acts perpetrated by the British government in it's history it is just as informative as it is entertaining, especially to those of an Irish heritage such as myself.

A London model is arrested for drugs trafficking by MI5 and blackmailed into arranging the robbery of a Bank vault to reclaim some embarrassing photographs used by a corrupt black activist to obtain immunity. The robbery is successful but the vault also contained incriminating ledgers owned by some serious villains identifying corrupt police officers and more photos that could embarrass high level members of Her Majesty's government leaving the robbers in a very sticky situation. I wish Statham whould stop trying to be the cockney Van-Damme because this is what he is really good at. One criticism you could instantly level at this film is that the plot is so far-fetched, but bizarrely, it's actually a true story. At the beginning, it appears to be a decent if slightly run-of-the-mill heist movie as the usual collection of lovable East End villains plan and execute their scam but it's actually after the event that this film gets really interesting. The tone darkens and as it gets more hard-boiled and grim, the better it gets. The plot is well written and intertwines the several sub plots cleverly and its constantly entertaining. Darker, grittier and above all better than all of the Ocean's films and a great, unpretentious, old-fashioned British crime drama that can stand shoulder to shoulder with the best of them.

An unrelentingly grim and uncompromising prison escape story based on true events sees Steve McQueen shed his glamorous image and portray an intense obsessive determined to escape from Devil's Island if it kills him. Both he and Hoffman as his weak intellectual sidekick form the core of the film, and they are both magnificent.

Like The Killing Fields, Salvador and Schindler's List before it, Hotel Rwanda catalogues yet another example of the the human race's remarkable talent for inhumanity. Don Cheadle gives a career best performance as a hotel manager who uses all his intelligence and guile to help save over 1200 refugees from the genocidal rampage of Hutu militants. The rest of the cast also put in the kind of committed performances actors give when they truly believe that a story must be told and although it is a little manipulative, it's never heavy handed or clumsy. I must admit, I didn't realise that the cultural segregation of the Tutsis and the Hutus was just an arbitrary division created by long gone occupying colonialism and the film gives a welcome lesson in the cause and nature of the conflict. It also serves as yet another reminder that the opulent west is very good at making worthy popular entertainment that documents such atrocities, even shedding a tear when reminded of their existence. But we never seem to do a damn thing when it actually counts.

Defiance is the true story of Jewish brothers Daniel Craig and Liev Schreiber who hid from the Nazis in the Belarussian forest, and quickly found themselves with an entire community of fleeing refugees to protect. Edward Zwick has always been fond of telling stories about the triumph of the human spirit, although he has been guilty of over egging the sentimental side of things to get his intended point across. Defiance is no exception, but thanks to some clever writing and a strong central performance by Daniel Craig, this film manages to pull itself back from the brink of schmaltz. When Craig mounted a white steed and gave a very Braveheart speech to his new subjects, I thought "Oh great...here we go again...", but soonafter when the people begin to starve, he promptly pulls out a Luger and puts a bullet in its head, almost as if to say "there's a time and a place for pomp and bluster, but this isn't it"! He shows the conflict between animal instinct and humanity quite nicely, sometimes showing compassion and yes, speech making, but at others dealing with the issues at hand with a ruthless efficiency. Craig and some handsome photography made this film for me, and although it is guilty of emotional button pushing, sometimes those are the button you want to be pushed. Especially when it comes to seeing at least a small victory against the greatest shower of evil bastards ever to walk the Earth.

Based on actual events, The Wind And The Lion is the story of a banished Moroccan chieftan who kidnaps an American woman and her two children in an attempt to rid his country of its occupying European forces resulting in a stand off between he and president Roosevelt. Written and directed by John Milius who was responsible for scripts as diverse as Apocalypse Now and Conan The Barbarian, this film contains his typically clever dialogue and political subtext as well as a healthy dose of rousing action. There is a satirical commentary on colonialism in general as well as America's role as self-appointed world policeman; Roosevelt is shown as a man more interested in self-aggrandisement and bluster than justice, all too ready to send in the troops to stamp his will on the rest of the world (the American's glorious "victory" is against a hugely inferior and unprepared force. Plus ca change...) His opponent is played by Sean Connery at his most charismatic, and Candice Bergen ably fills a role originally intended for Katherine Hepburn as the kidnapped woman who grows to understand the man and realises he is no savage, but an honourable and educated leader of men. Add a great supporting cast and a rousing score, it's in turns funny, clever and exciting making this adventure from the old school at it's most stirring.

Hunter S. Thompson's semi-autobiographical novel and essay on the emptiness of the American dream in post sixties Las Vegas is brought to life by Terry Gilliam in a way very few could've managed; his mixture of lurid visuals, surreal humour and celebration of the grotesque captures its spirit perfectly. It's long been one of my favourite books, and this is exactly how I pictured it in my head as I read it. Johnny Depp nails Thompson, and is spot on as the drug-addled outsider who sees himself as an alien in his own country, providing some very insightful commentary on the America of those times. Benicio Del Toro is also fantastic as his Samoan sidekick and it's hilarious to see the pair of them crashing through "polite society" without the slightest regard for acceptable, conventionall behaviour. With cameos from the likes of Christina Ricci and Harry Dean Stanton, the cast is to die for there are loads of funny lines and physical humour that'll make anyone who has had one too many (of anything!) laugh and cringe knowingly at the same time. Capping it off there's also a superb soundtrack of the greatest music of that period. Those looking for a coherent plot will be disappointed, but that's the nature of the beast; deeply sick and totally hilarious, it's America's answer to Withnail & I.

Hollywood once again retells the story of the legendary lawman, this time in the guise of Kurt Russell. Add Val Kilmer, Sam Neill, and Bill Paxton into the mix and what you get doesn't exactly scream "A list" but what you do have is an ensemble cast that gels particularly well; this is one of those films that manages to be more than the sum of its parts. The bond of brotherhood and friendship between the Earps and Doc Holliday feels genuine and Kilmer clearly relishes the scene stealing part of sickly gentleman adrenaline junkie Holliday. Powers Booth and Michael Biehn also make charismatic villains, the scenes between Biehn and Kilmer being particularly sharp and the Peckinpahesque shoot outs extremely well staged. In fact the shoot out at the OK corral is one of the best versions yet filmed. It does occasionally slip into melodrama (Morgan's death being the prime example) and the climax is a little montage happy and feels a little rushed as a result, but it's a great slice of old school popular entertainment that's a lot more engaging than Kevin Costner's pompous yawnfest released the same year.

Unrelentingly grim prison movie which sees Alan Parker once again masterfully pressing all the right buttons. True, many of the characters are stereotypes, and it's somewhat casually racist, but it's a case of the end justifying the means.

A fascinating look at the JFK conspiracy theory from Oliver Stone with an excellent cast headed by an unusually bearable Costner. Great when it's concentrating on the politics and investigative aspects, not great when the schmaltzy family stuff raises it's ugly head. ("Daddy, why are you going away? Don't you love us any more...?" Mmmm...SUBTLE...)

Based on the experiences of a young Scottish doctor who becomes the unlikely confidante of brutal Ugandan dictator Idi Amin, this film is quite even-handed in it's representation of the two main characters. Whitaker was fully deserving of his Oscar and McAvoy looking for the world like a young Ewan McGregor, it's easy to see how a young hedonist who sees Africa as an adventure playground of life experience would fall for the personal charm and charisma of Amin, while completely insulated from the atrocities he was committing in the outside world. I would have liked to have seen more of the context in which the story was situated, as the audience sees only glimpses of Amin's crimes as Garrigan does so the film does not have the weight it could have. As such it's a very well made and entertaining personal story, but it lacks the real punch of something like The Killing Fields.
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Finding Neverland tells the story of playwright J.M. Barrie who finds an escape from his loveless marriage to a joyless social climber and inspiration for his classic work Peter Pan in a young widow and her four sons. Both an interesting and lavishly produced period piece and love letter to the joys of the imagination, this film is a deeply charming and affecting tale judged to perfection by all concerned. The costumes and cinematography are beautiful and the representations on screen of Barrie's imaginary world are lovely to look at. The story by its nature is a little sentimental, but it never feels contrived because of sensitive performances by a quality ensemble cast. Johnny Depp is at his most likable and his understated relationship with Kate Winslet is both believable and moving. Dustin Hoffman's supporting performance as a skeptical producer also deserves a mention and he brings some light relief and laughs to an otherwise tear jerking story. But most of all it brings a sense of wonder and magic to the screen that is rarely pulled of with this level of success.

When a hoodlum staggers into a police station and confesses to the murder of his girlfriend, it sets in motion a chain of events which leads to D.A. Humphrey Bogart following a series of clues and bodies uncovering a group of ruthless contract killers. All the elements of film noir are in place, including gritty violence in darkened streets and tough, uncompromising characters. The structure is a little episodic, most of the story being told in flashback, and it would've benefited from giving more screen time to Bogie himself, but it's still a tautly directed and well shot minor classic of the detective genre.

I'm not the biggest fan of Denzel, but he is extremely convincing in this sweeping biopic of the black activist and political icon Malcolm X by Spike Lee. The man had a remarkable and fascinating life, born into a world of prejudice and violence and later seduced by a life of crime when he goes to the big city and encounters Delroy Lindo, a black man who commands power, and more importantly, respect. This heralds the most interesting part of the film when Malcolm is imprisoned for 10 years for burglary and encounters his mentor who teaches him his salvation in the form of Islam. This leads to his rebirth as civil rights activist, only to find disenchantment and then betrayal at the hands of those he trusted most. This biopic has everything; crime, gangsters, prison drama, politics (both religious and racial) and a lesson in history. I do not know enough about the man's real life to pass judgement on the film's accuracy, but I can only assume there is a certain amount of rose-tinting in evidence; he could almost be ordained to sainthood by the film's end. But it does hold an important underlying message; sometimes one can be seduced by the man who preaches the message, causing us to lose sight of the message itself. A lesson perhaps even more pertinent today (especially for his fellow Muslims) than it was then.

This story of prisoners of war in a WWII japanese prison camp is based on true experiences, and is far more concerned with the harsh realities of surviving the terrible hardships of day to day life than derring do and cunning escape plans. George Segal plays a cynical hustler who seems far more adept at making the best of his predicament, and as such the other prisoners either ally themselves with or despise him. James Fox is excellent as the british officer who befriends him and humour and drama unfolds as the camps differing factions motives and hypocrisies are exposed. Best described as a cross between The Bridge On The River Kwai and Stalag 17, it is not quite their measure, but it's a damn good film in it's own right.

Typically worthy and well-made biopic of Steven Biko and his death at the hands of the racist south african regime from Richard Attenborough. The first half of the film featuring the man himself played by Denzel in one of his best roles works better, as we get to know the man and his motives. It's harder to care about Kline's attempts to escape the country in the wake of Biko's death, but it's still fascinating stuff.

Gary Oldman is perfectly cast as doomed punk rocker Sid Vicious embroiled in a cycle of self destruction and drugs with girlfriend Nancy Spungen. A brilliant biopic that captures the turbulent life and times of the burgeoning punk movement from cult director Alex Cox with an unsurprisingly great soundtrack.

A very young looking Toshiro Mifune plays a fresh young police officer who becomes increasingly obsessive when tracking down his stolen gun when it is used in a series of violent crimes. Kurosawa's low key detective thriller borrows heavily from contemporary noir, and uses that influence to contrast the hardship and poverty of post war Japan with the urban glamour and decadence of it's American counterpart. It's an interesting snapshot of the Japan of the period, often shot in a documentary style although I did feel a lot of the somewhat unnecessary background detail did interfere with the narrative pacing, slowing things down considerably. His usual strong moral message is also in evidence, as he shows the criminal and detective as both sides of the same coin, a theme that has recurred again and again in Asian crime drama ever since. Yet another hugely influential and brilliantly made film that despite it's ponderous pace never fails to fascinate.

When an obsessive yet vulnerable man loses his family, job and later dreams while those he sees as cheats and liars always seem to succeed, he decides to kill the man he sees as the figurehead of the corruption of the american system; Richard Nixon. Penn is very good as a man who is desperately clinging to his sense of morals, becoming increasingly indignant as he sees his fellow "oppressed" crushed by the government on his television screen. There are actually a lot of parallels between those times and the current days of political spin, and Sam Bicke can almost be seen as a cypher for the disenfranchised muslims of the world who see acts of terror as their only voice. Clever and thought provoking, and offers a more personal picture of an individual trapped within a seemingly corrupt system than Syriana.

A group of four friends are sent to a boy's reform school when a prank goes wrong, and suffer brutality and sexual abuse at the hands of the guards. Years later two of them encounter one of their tormentors and summarily execute him, setting in motion a plan to expose those involved. Sleepers is based on a novel by Lorenzo Carcaterra who claimed that it is a true story. The highly contrived and convenient nature of the plot makes this seem highly unlikely, and so the claim actually undermines the story's credibility rather than vice versa. This is a shame, because it's actually an interesting spin on the courtroom drama presented by a quality cast. Kevin Bacon once again shows his characteristic bravery in selecting a part that is completely without sympathy, and he does a very good job, as does DeNiro in a supporting role as a priest with a crisis of conscience. It does lack a certain punch, probably because of Levinson's heritage in light entertainment. He is definitely more comfortable directing the scenes of rose tinted nostalgia than those of gritty violence and abuse and this sanitized, glossy edge compromises the harder edges of the story. I would also have to say that the courtroom section fizzled out a little because of the lack of interaction between the lead characters and it's all resolved a little too conveniently, but it is an intelligently told tale that leaves a lasting impression.

George Clooney directs and stars in the story of Edward R. Murrow, a television reporter who was the only one courageous enough take on the McCarthy witch-hunt of the 1950s. Well crafted, shot in atmospheric black and white and intercut with actual footage from the time, the sense of period is spot on but it is the parallels with modern day america that are the obvious point to this film. It opens with Murrow's denunciation of TV, which he says has become nothing but a distraction and insulation from the important events of the outside world. In the meantime senator McCarthy is judge, jury and executioner for suspects with "anti-American" sentiments who are condemned without trial, or even a shred of hard evidence. Murrow himself, whose program was attacked by the far right for slanting the facts using left wing bias and quotations taken out of context (sound familiar Mr. Moore?) was targeted in a similar smear campaign for his efforts. It seems not much has changed in the last 50 years...As a film, I'd have to say the lack of characterisation of the individuals meant little in the way of emotional drama; the suicide of a colleague and resignation of a married couple to save the jobs of others seemed soapy and rather tacked on. It won't change the world, but it uses the medium to make an intelligent political point, and has a simple honesty and integrity that Morrow would've have approved of.

A departure form Scorceses usual territory, but it's lavishly photographed, and makes fo a fascinating insight into the politics and culture of Tibet and it's people.

With it's grittier direction and more personal story, this period swashbuckler seems to lack the Hollywood gloss of it's contemporary Braveheart, but scratch the surface and you'll find the usual foreign actors with suspect accents, penny whistles and noble savages fighting the oppression of evil aristocrats, hung on a plot that could easily have been lifted directly from a western. It is however well written and solidly performed, but it is really the cast of cads that Neeson is forced into battling that make this film. John Hurt's arrogant and calculating Montrose, Brian Cox and his amusingly snide commentary on the proceedings, but most of all Tim Roth's hilariously immoral fop. It may not have the spectacle and humour of Mel Gibson's epic, but it is different enough to make it worth a watch in it's own right.

Mongol charts the life of Genghis Khan, from boy who sees his father assassinated, is abandoned by his clan and has his bride abducted, to the feared leader conqueror of half the known world. Well, some of it anyway. Mongol bears all the hallmarks of a quality historical epic, from the beautiful cinematography and fantastic costume design to the brilliantly staged battle sequences. Although he's obviously no John Wayne(!), Tadanobu Asano makes a charismatic Temudgin, and the relationships between his pragmatic and wily wife (nicely played by the striking Khulan Chuluun) and his brother turned enemy are interesting and well done. Unfortunately, the rather glamourized script seemed to lack focus; it happily showed his happy home life as loving husband and father in a way that reminded me of the early stages of Braveheart, but would then skip over huge swathes of his life. One minute he's a lone warrior, frolicking with his family in a field, the next he's in command of half of Mongolia, facing his brother on a battlefield. How did these events came to pass? Search me. Still, what there is is very well done, if a little episodic; I just wished it had concentrated a bit more on the parts of his life I was actually interested in.

This tale of two friends whose lives on opposing sides of the law collide is Peckinpah's grim eulogy for the death of the west, and an intelligent and thoughtful allegorical character study. Punctuated by extreme violence in his inimitable style, it's a quality western that will appeal to his fans greatly.

Another typically rose-tinted telling of the James-Younger gang's story by action aficionado Walter Hill. A novel cast in which the sets of brothers are all played by real-life siblings combines with a gritty authenticity to give a real feel of the old west. Hill's specialty really is the action side of things though, as the story barely pauses for breath to deal with their personal relationships and the sense of time passing is non-existent, making the film feel very episodic. This is more than made up for by the shoot-out sequences which are some of the most realistically bloody you are ever going to see; the classic Northfield hold-up sequence is one Hill's mentor, Sam Peckinpah, would have been proud of himself.

Al Pacino stars in a true life story of an honest cop who is stonewalled by his superiors and hated by his peers when he tries to expose the institutionalized corruption of the police department. Pacino puts in a typically strong performance as a man fighting alone against the system, and he and Lumet bring a gritty believability to the proceedings. The supporting characters seemed to flit in and out of the story at random intervals however, which means that Pacino never really gets to share any relationships or dialogue of any real depth leaving it feeling a little dry and uninvolving. I also felt that it concentrated a little too much on his domestic situation which is clearly far less interesting than the action on the streets which combined with the painfully misplaced and corny soundtrack made it feel more like soapy melodrama than a cop drama in places. The final act when the investigation finally starts is worth waiting for, but it does seem a very long time in coming. On the whole a solid, well acted character driven cop film that didn't quite live up to its reputation for me, but worth seeing particularly for Pacino fans.

Ha ha! Once again Hollywood presents it's interpretation of "history", and once again, it's about as convincing as the manifesto of the flat earth society. Every cinematic cliche from the stories of Robin Hood and Arthurian legend is mixed with Braveheart and even Gladiator, and presented as "fact", which is easily the film's biggest flaw. Every time the name Arthur or Lancelot is mentioned, it only serves to remind how absurd it all is. But expecting the worst, I watched this with my least cynical head on (luckily, otherwise I would never have made it past the first half hour)and actually rather enjoyed it. When it finally gets down to the serious business of everyone hacking each other into Mcnuggets, things definitely improve. The battle sequences are superb, both thrilling and beautifully staged and I couldn't help thinking that if it had just accepted itself as hokey fantasy (the director was obviously just trying to emulate Lord Of The Rings anyway) it would've been a lot easier to stomach. If you're the kind of person who could ignore Braveheart's shortcomings and enjoyed it for what it was, you can do the same for this. But if you expect historical accuracy (or even dialogue that doesn't make you physically cringe!) I'd look elsewhere.

A very watchable escape movie made in the days when prison movies were about camaraderie in the face of adversity and patiently executed, ingenious escape plans rather than skinheads and buggery. It's refreshing to see Clint acting without the use of his fists and the scenes involving Patrick McGoohan's coldly evil warden confiscating an ageing lifers art materials for his own petty reasons is a highlight. Maybe a little uneventful for the action junkie, but suspenseful and atmospheric with some well written dialogue.

An honest district attourney is pressured into convicting a man accused of the murder of a priest, but when he examines the evidence, he has second thoughts as to the man's guilt. Rather similar to 12 Angry Men, which was released 10 years later and also featured Lee J. Cobb and Ed Begley, this is an intelligent courtroom drama based on a real case from the same director as Brando's On The Waterfront and Cat On A Hot Tin Roof. It shows not only the investigation of the evidence, but also the pressures behind the scenes from self-serving politicians, the press and a public eager for a quick conviction. Dana Andrews is solid as the crusading DA, but it is Cobb's worldly wise chief of police and Arthur Kennedy as the suspect railroaded into a false confession that are the stand-out performances. The true identity of the murderer is only hinted at, and he suffers a rather contrived timely come-uppance no doubt to appease the "crime doesn't pay" censorship laws, but otherwise a fine noir-style examination of the American justice system.

Joy Division have always been the kind of band I appreciate rather than love. They are intelligent, important, and interesting but have never got my adrenalin flowing like many of my favourites do. The same is true of this film. It's very well made, well shot and well written and the performance by Sam Riley as Ian Curtis is totally believable. But somehow it left me cold. I felt like I was watching a museum exhibit; a portrait of a young man in a glass case that I had no emotional attachment to. Was he a troubled genius plagued by mental illness, or was his suicide caused by the side effects of a cocktail of ineffectual and misprescribed drugs? Or was he just a typically selfish and pretentious pop star just guilty about not being able to say no to a hot and willing young groupie? I don't bloody know, and neither it seems, does this film. A very honest and believable biopic that unfortunately holds no answers for anyone looking for a window into the inner workings of Curtis' mind.

The story of rock'n'roll country singer Johnny Cash, from humble beginnings and childhood tragedy, through to stardom and drug addiction. All the standard music biopic ingredients are here, juxtaposing the glamour of rock stardom with the drudgery of home-life set to a suitably fine soundtrack. Cash fans will enjoy seeing the context from which his songs sprung, but the rest of us will find little we haven't seen many times before in various other films. The performances are all strong and technically it can't be faulted aside from the fact it could've stood to lose 20 minutes in the middle. Well made but otherwise unexceptional.

When a group of soldiers in Vietnam on long patrol kidnap, rape and murder a village girl, new recruit Michael J. Fox finds no-one will listen when he tries to report the crime to his superiors. Casualties Of War is a shocking story that is based on true events and Fox's attempt to become a "serious" actor. It is well meaning, and Thuy Thu Le puts in a heart breaking performance as the victim but the film as a whole does not quite work. De Palma does not have the subtlety or sensitivity to do the material justice and although Fox tries his best, he does not have the dramatic range to convince in the main role. The other characters are pretty much all very familiar stereotypical grunts and the dialogue feels forced and unnatural. The contrived and cornball ending certainly doesn't help either. It's a nice try at representing a situation where all sense of right and wrong seems at odds with an everyday reality that consists of murder and death but I feel it would have been better served in different hands and it lacks the necessary intensity of some of the better Vietnam war based films.

This true-to-life dramatization of the comedy double act Peter Cook and Dudley Moore is notable mainly for Rhys Ifans' remarkable performance. He IS Peter Cook! The witty and insightful script is full of his characteristically surreal barbs and satire, and shows the behind the scenes squabbling and resentments that show that once again, genius and madness seem to go hand in hand. The post-modern device of having a black and white Pete and Dud commentating on the story is more annoying than amusing, but otherwise, a fine bio pic.

Quality biopic of Vincent Van Gogh featuring an intense if slightly affected performance by Kirk Douglas as the tortured artist. Nice painterly cinematography and a genuine reverance for the man and his work make for a fascinating insight into the genius, and there's a great larger than life supporting role for Anthony Quinn as Gaugin.

Lord Of War stars Nicolas Cage as an arms dealer who happily supplies any and everyone in the world without thought to moral implications; he sees himself purely as a businessman supplying to meet a demand. This initially intriguing premise could've been a biting political satire and comment on the role of the west in the seemingly never-ending military conflicts that flare up around the world. Instead it's a rather half-hearted affair in which there seems to be little in the way of character development, depth of plot or even moral message; the result is a film that resembles a cross between The Last King Of Scotland and Sgt. Bilko. The only attempt to give these factors context on the world stage is a line of text at the end of the film that proclaims that the 5 permanent members of the UN security council are the biggest arms manufacturers in the world. Well, um, duh...But does the film actually explore this fact at all? No, it doesn't. In fact it just contains a few superficially realised characters and an attitude to military hardware that has more in common with The Fast And The Furious than Doctor Strangelove; more often than not it looks like a guns & ammo fetishist's wet dream. It's glossily entertaining for it's duration, but the pay off I was expecting where things turn around and it explores the consequences of his actions never materialises; he just gets shit-faced and stumbles around for a while and then carries on as normal. A reasonable but vacuous way to spend a couple of hours, but I doubt it will stand up to repeat viewing.

I actually found this movie pretty creepy as it relies on suggestion rather than the usual dodgy effects and gore. But a "true story"? Please...

Another classic prison drama, more a well-crafted and brilliantly acted character study than concentrating on the usual escape shenanigans.

One of a rash of WWII escape stories from the fifties, this is the classic tale of stiffer upper lips headed by the ever reliable John Mills. It lacks the drama of Bridge Over The River Kwai and the action of The Great Escape, but it has a simple honesty that is probably the product of it's roots as an adaptation of true life memoirs. It's also is happy to give screen time to the French, Dutch and Polish prisoners (something Hollywood would've been well served to take note of) and is even not entirely unsympathetic towards the German captors. A solid escape story all round.

Kevin Costner once again projects his own self-image of the all-American hero, this time portraying legendary frontier marshal Wyatt Earp. And as usual, it's too self-important and FAR too bloody long. The first hour is especially tiresome, as the young Wyatt's life is a dreary combination of sentimentality and melodrama but things do pick up once his father bails him out of jail. Even then however, the underused supporting cast seem far more interesting than the stone faced and characterless Costner; even the plum role of Doc Holliday (played by Dennis Quaid who is clearly enjoying himself) feels little more weighty than a cameo. The aspect of male bonding does work well though, making it all the more obvious that the relationships between the Earps and their other halves rarely exceeds the level of soap opera; Costner's relationship with his second wife is marked by some particularly cornball dialogue. The main drawback for this project is the fact that this story has been told so often that it would take something truly spectacular to make it worth it, and not only is this not the best version, it's not even in the top 3; it lacks the elegance of My Darling Clementine, the grittiness of Tombstone and the good natured humour of Gunfight At The OK Corral, making it a decent but unremarkable addition to the genre.

The true life story of a young drug dealer who kidnaps the younger brother of a fellow gangster in order to make him pay his debts. As grim as that sounds, most of the film's light tone and constant frat style partying makes it look more like Almost Famous with wannabe gangsters. It is a promising premise for a gangster movie, but the script full of bored middle class white kids with nothing to do but get wasted and play at being hip hop style street criminals shows little insight as to how they became who they were, and the dialogue basically just constantly rearranges the words "suck", "my", "dick", "bitch" and "faggot". The bland performances all around also completely fall to draw you in, apart from Sharon Stone's turn as a kind of manic witch of the west in a fat suit which is just bizarre. The direction is lacklustre and photography just looks like a commercial for a travel agents. The result is a film that is guilty of exactly the kind of glamorization that it half-heartedly criticizes, and has a lot more in common with The Fast And The Furious than Goodfellas.

Creepy ghost story about a young woman who is stalked by a poltergeist, based on the urban legend of "entity rape". A palpable sense of genuine menace is produced, and to this day I can't figure out how some of the inventive effects were done.

A well made and worthy tale of the american space program that's got a great ensemble cast and fascinating topic, but GOD it's long...

It all feels a bit true-life TV movie, but Julia Roberts is unusually likeable in a down-to-earth kind of way and Albert Finney adds some weight to the contrived feelgoodness of it all.

A young couple return home from a party in the early hours to be terrorized by masked strangers. And that's it. This film reminded me of Open Water, in that it's "based on true events" about a couple in a scary situation, but the fact is that no-one really knows what happened. And according to the script writers of both films, the answer is: nothing much. The Strangers is a purely by the numbers slasher flick that uses all the usual devices of shadowy figures appearing and disappearing in the background, faces appearing at windows, menacing bumps in the night etc etc etc. The characters do all the usual cowering in wardrobes and falling flat on their faces as soon as they try to run anywhere and do nothing but whimper in corners and shout "Why are you doing this to us?!!" like good little victims. But I couldn't help thinking that if I was up against a couple of girls and a bloke with a bag on his head armed with what he found in my tool shed, and I had a pump action shotgun, I'd fancy my chances. It's adequately directed and there's some nice use of sound effects and music but as a whole it's a more like a plotless film student's exercise than a film. A cinematic ghost train ride for pubescent teenagers weaned on Saw.

"Hey, Jerry we need a script for Tony Scott. He wants to try out some new colour filters and some of that whooshy slowy downy speedy uppy shit he likes so much. It's gonna be about a female bounty hunter."
"Yeah, what's the story gonna be about?"
"I dunno. A chick with a gun. Who gives a shit?"
"Well, she's gotta be hot. How about that skinny chick in that Pirate movie?"
"Ain't she British?"
"Yeah, so what. All she's gotta do is run around shooting shit and get her hooters out once in a while. Give her some tattoos and smeared mascara while your at it. Them emo kids love that shit."
"It's gonna need shoot outs. Lots of blood..."
"Hey, all we gotta do is keep showing what MIGHT have happened, and we can stick in all the action we like even if it makes no sense!"
"You are a f***ing genius!"
"Yeah, who gives a shit about the story anyway? Nobody can tell what the f***'s going on in a Tony Scott film with all that visual shit he stuffs into it!"
"We need a plot twist. That Lucky Number Slevin had about three of 'em..."
"Well stick FOUR in then. What, do I gotta write this shit myself?!"
"Springer's free. His agent just called me."
"Great! Let's have a whole scene on the Springer show! And throw in a couple of them Beverly Hills 90120 kids in. My daughter loves that show!"
"All it needs now is a couple of pop stars and some homies and we've got ourselves a winner!"
"Oh, and put a couple of weird bits in it to make the artsy fartsy crowd think it's clever. And get Walken just in case. Tarantino fans'll watch any old shit with him in it."
"It'll be ready in the morning. Let's do lunch. Ciao!"

A british dramatization of the actual recorded events leading up to and during the sinking of the Titanic performed without the melodramatic histrionics of Cameron's bloated monstrosity. The crew are played with a reserved, pragmatic dignity, counterpointing the aloof complacency and later panic of the passengers. It's meticulous in it's detail, solidly acted and features model effects that have stood the test of time rather impressively. It's a little overlong (even though it's an hour shorter than 1997's debacle) but the writer's choice to let the drama of the actual events unfold without embellishment and sentiment was the right one. If only James Cameron had taken a page from his book...

We always expect an odd hotch-potch of accents in a Hollywood epic, but witnessing ancient greeks ALL (with the notable exception of Angelina Jolie, who seems to be impersonating Ivana Humpalot from Austin Powers) sporting a broad Irish drawl is just SURREAL. Anyway...Oliver Stone's historical epic is pretty much what you would expect; sumptuous costume design and photography, impressive battle scenes on a massive scale, the fact that it takes itself a little too seriously and it's too long. But the main drawback lies in the pitch of the film;many pivotal historical events are not only skimmed over, but often even happen off-screen. I didn't feel that I knew Alexander the man any better than I did at the start, Stone being far more interested in who he was shagging than his psychology or motives. The way the chronology of events keeps skipping back and forth only served to confuse, and the score is intrusively pompous. But having said all that it's worth a watch for the sheer spectacle. And the accents. "Top o' the mornin' to yer Mr. Plato" "Begorrah to be sure Mr. Aristotle..."

I'm not a great fan of horror, but the trailer for this film looked so good I thought I'd make an exception. Very much in the tradition of The Entity and The Exorcist, this religious horror concerns itself with the supposed "possession" of a young girl but unfortunately spends far too little time on her and her story. It's so desperate for "true story" credibility that the "factual" courtroom accounts keep interrupting the far more interesting flashback sequences. If the story had just been told as is without the somewhat dry and uninvolving courtroom scenes, I think a fine chiller could've emerged; as it stands it's just a solid religious pot-boiler. Note to the producers: Which is really more interesting, a. A sheltered and devout young woman who finds horrifying and inexplicable events happening to her, or b. A bunch of lawyers. If your answer to this with good conscience is "b", then YOU are suffering from schizophrenic psychosis...

A young couple are left behind when they go scuba diving. Errrrm....that's it. Essentially, this film begins with half an hour of holiday home movie, and then consists of watching two yuppies bob around in the water. Sounds thrilling doesn't it? But to be honest, it's not quite as boring as it sounds. It manages to tap into quite a primeval and universal fear; being lost in a hostile environment with an unseen enemy stalking you is a staple of the horror genre. It did actually make me jump a couple of times, as you see menacing shapes lurking beneath the waves, and the strobe effect of the lightning during the storm was actually very effective. Unfortunately much of what this film was trying to achieve could've been done in half the time, and there's a lot of teary, whiny padding. It's worth seeing once for the good bits, but that's all.

Intelligent drama in which a mentally challenged petty criminal is railroaded onto the gallows, causing the establishment to re-evaluate it's use of the death penalty. Well acted and thought provoking.

The true story of three british airmen who escaped from a prison camp in WWII. There's little here that hasn't been done again and again in prison escape films, although it does pick up once they escape the camp; the cat and mouse chase in the dark alleys of nazi Germany is the stand-out scene. Probably a lot more true to life than the Great Escape, but much less entertaining as a result. Solid but unremarkable.

I don't like The Doors, so I'm a bit biased, but Val Kilmer does a decent impersonation of the pompous, arrogant, self important twat in a biopic that's rather too steeped in hero worship. Nicely shot and a good sense of period though.

I was initially hooked by this film, both by the great opening scene in which Michael Caine coldly disposes of a supposed jewish vigilante and it's promise of historical and political intrigue. Unfortunately it never quite lives up to expectation, the potential in the storyline never being realized. It merely scrapes the surface of the historical aspect of the story, and many of the supporting characters are wasted in superficially realized roles. The fact that the picture postcard scenery is the only thing remotely french about the whole affair did not help, most roles filled by brits with very british accents. But it's always good to see Caine playing these rare but always watchable unsympathetic characters, and I found myself wishing we saw more of him, and less of the dreary duo in pursuit. On the whole, a missed opportunity.

Another decent but over-rated melodrama starring Robin Williams. DeNiro adds presence and the story is a moving one, but it all could've been done with rather more subtlety. Not bad though.

I imagine Chuck Barris sat down to write his autobiography and realised that it would be the same as 99% of every other autobiographies ever written. Really f***ing boring. So he decided to throw in some stuff about spies and assassins to spice it up a bit. This adaptation therefore is part biography, part romance, part thriller and part comedy but is a serious case of jack of all trades and master of none. The spy scenes come across as a kind of unfunny version of Austin Powers, the romance doesn't work because he is such an unsympathetic twat (even Drew Barrymore comes across as whiny and annoying) and it just isn't very funny. It's a shame because if Clooney had concentrated on just one aspect it could've been much better; the scenes involving himself and Rutger Hauer are great. Unfortunately as it is, more often than not I was just plain bored because Rockwell is so unlikeable I didn't care WHAT happened to him. A disappointment considering the talent involved.

This heavily romanticized story based on the life of cowboy Frank T. Hopkins is based around his entry into a race across the deserts of persia. It's a handsome outdoor adventure that, when edited down to bite sized chunks for the trailer, probably looks thrilling. But the reality is that although it is very entertaining when the swashbuckling action kicks in, these scenes are far too brief and few and far between. I spent most of the film looking at the scenery wondering when something interesting was going to happen. Unless you really, really like horses, I just wouldn't bother.

Heavy-handed flag waver from Ron Howard. Well made but overlong and dull.

Hollywood once more goes through the "war is hell" motions and gives Vietnam the Saving Private Ryan treatment. I cannot criticize the skillful representation of the battlefield, but pretty pictures of men being artfully eviscerated by slow motion gunfire does not a war movie make. What marks this film is the quite astonishing lack of subtlety and sophistication in the script and direction by Randall Wallace. Mel Gibson plays the kind of superhuman commanding officer who stands shoulder to shoulder with his men and probably blinds the enemy with the glow of his halo. The first 40 minutes of the film are particularly painful, as all the bootcamp cliches are present, interspersed with apple pie images of family prayer and an embarrassing scene featuring the officer's wives that is about as subtle as Father Ted's slideshow that flashed up "NOT A RACIST" at strategic intervals. The men on the ground under Gibson's command are all the kind of fine upstanding Americans who were "glad to give their lives for their country" and gasped "Tell my wife I love her" with their dying breaths. But were not actually important enough to devote any screen time to when it comes to their characters or personalities. The only attempt to show the Vietnamese side of the story was glimpses of their commander, 30 seconds before his orders were preternaturally second guessed by Gibson and at the end when he ran away from the advancing and victorious American soldiers (guess whose version of events this film is based on...) This is exactly the kind of patronising, gung ho John Wayne style flag waver that I thought had been swept away by Coppolla, Kubrick and Stone, summed up for me by the scene when Mel Gibson's young daughter asked him "Dad-dy, what is a war...?" For f**k's sake. I honestly thought that this film would NEVER end.

Dear Lord God, what were they thinking...? Featuring easily the worst piece of casting in cinematic history, John Wayne stars as Genghis Khan (yes, you read that right) in the story of his life. It is quite funny for about 10 minutes, until you realise that it's quite mind-buggering dull. One star for the curiosity value, but otherwise a total waste of celluloid. The fact that financial backer Howard Hughes paid $12 million to recall every print in existence so no-one could see it should tell you everything you need to know!

Slightly less enjoyable than sticking your head in a bucket of cold sick. But a similar experience.

Changeling is the true story of a young mother in 1920s America whose son goes missing, but when the wrong boy is returned to her she is persecuted by a corrupt police force trying to avoid public embarrassment. Another beautifully crafted and intelligent drama from Clint Eastwood, Changeling is quite an unbelievable story. It highlights the dreadful, uncaring hypocrisy of corrupt officials, the appalling treatment of the mentally ill of the time, not to mention those "hysterical" women who were committed to avoid embarrassment or inconvenience. The period is meticulously recreated and the plot combines the story of a woman unshakably seeking justice against enormous odds and the investigation into a harrowing serial killer case. The cast are all of course quality, apart from the fact that although she turns in in quite a creditable performance, you can never quite forget you are in the presence of Her Jolieness rather than witnessing actual events. The result is leagues ahead of the hand wringing melodrama that missing child stories usually entail and serves both as an intriguing mystery and cautionary tale about human indifference to the suffering of others.