An Interpol agent attempts to expose a high-profile financial institution's role in an international arms dealing ring.

Clive Owen: Louis Salinger

The plot deals with an agent (Owen) attempting to uncover and possibly prove a bank's involvement in sudden killings as well as arms dealing. The premise itself is good and sufficient enough to be carried through the film's nearly 2 hour runtime. This combined with a mostly solid story give the film an almost Tom Clancy-esquire style. Unfortunately, what keeps the story from being full realized from its potential is how it, along with most of the film seems to drag on to the point of yawns aplenty. Due to the relative slow pacing it can almost become hard to realize there's actually an interesting plot unfolding.

The events of the plot are placed on the shoulders of various characters, with Clive Owen and Naomi Watts carrying the weight of this task. While Watts, as with most of the supporting cast, seems to have on and off performance deliveries Owen really manages to shine as the lead. Most of the film's best lines of dialogue come from Owen and his conversations with other characters, especially Watts. Sadly, these line deliveries aren't too frequent and, as a result (as with the plot), it can become hard to realize the subtlety of some of the dialogue.
There are times, however, that the film manages to shine and show what it'd be like if every scene was handled as well. The one major action scene in the middle of the film is probably one of the better shot and more entertaining action scenes I've seen recently. There are also a few more suspense-oriented scenes that help make things interesting here and there, which also break up the seeming monotony. Unfortunately, these scenes are too few and far between to make much of an impact on the film overall.
Back and forth between Germany, France, Italy, New York and more, The International treats audiences to action and intrigue in some amazing locales. The most impressive sequence takes place in the Guggenheim Museum in Manhattan, involving the most unlikely ambush, machine-gun shootout and bloody getaway. The setup for location-hopping and international espionage makes this feel like James Bond, except there isn't quite enough action, the pacing is a little slow, and the first act is reminiscent of a CSI episode. That's not entirely a bad thing - although the film doesn't know what it wants to be, the constant chases, high-speed pursuits and thrill of the hunt is enough to keep things generally amusing.

Protocol, procedure and jurisdiction always get in the way of justice. No one can handle the truth because of the immense responsibilities; stepping out of the boundaries of the law is crucial to success, and no real solutions can ever change the overwhelming corruption that seizes each aspect of every government. This isn't a new premise for Hollywood, and The International isn't relying on huge twists or extreme creativity to separate it from the commonplace action films opening on a regular basis. Audiences aren't likely to get the resolution or confirmation they're looking for by the end of this confused thriller, but as far as anyone should be concerned, the inconclusive toxin results, edited police statements, cover-ups and assassinations are no match for Clive Owen's powerful stare. It's all he ever brings to a gun-toting engagement, and it usually suffices.

All told, The International is a film that shows so many signs of greatness but only occasionally successfully administrates them. If you're interested in the film's plot and how it unfolds you might find a solid watch with The International, but be ready for a rather slow story. This is far from a bad film, yet the well-executed scenes are too few and far between to make it worthy of an honest recommendation. For Tom Tykwer, this a far cry from Perfume and even a brief cameo by Ben Whishaw absently, subtly reminds of this fact, maybe next time Tom...

''Never show anyone. They'll beg you and they'll flatter you for the secret, but as soon as you give it up... you'll be nothing to them. The secret impresses no one. The trick you use it for is everything.''

Having been firm friends, a friendship turns into a deadly rivalry. When Alfred performs the ultimate magic trick, Robert tries desperately to find out the secret to the trick and to use it for his own means. Obsession turns the two men and begins to unravel their lives....

Hugh Jackman: Robert Angier

Christian Bale: Alfred Borden

The Prestige is based on the book by Christopher Priest. The story is about two entertaining magicians who become rivals, ever since a terrible occurrence transpires, a friendship that turns to rivalry, a rivalry that turns deadly. Friendly rivalry becomes an obsession. Their obsessions over trying to discover how the other does the trick, or how to upstage said trick, could turn into a life threatening game.

Firstly this came first, and does not reveal all twists right at the end, like cop out wannabe The Illusionist.
The story is in a word mesmerizing. You cannot help but stay focused, and throughout the film you want to know what will follow. There are many twists and turns within the snake shaped plot, There is a quote in the movie that is used throughout, "Are you watching closely?" You need to be paying close attention and The Prestige is better appreciated when given multiple viewings.

Nolan's previous work (Memento, Insomnia, Following.) has built upon his manipulation of audience engagement with film texts, and tweaking our sophisticated knowledge as viewers in such a way that our work as an audience helps propel the film as we are forced to guess, then second guess our preconceived notions of where his films are headed. Without recognizing our intelligence as an audience, the film would have no place to go.

The psychology of Nolan's films are like that of a masterful storyteller, akin to Robertson Davies' Fifth Business set of novels. The make up and structure of the medium, whether it is writing or film-making, or magic tricks, is key to the enjoyment of the medium's content. We are well aware as we watch The Prestige, how the film unfolds in three acts, exactly as the magic pieces are described in the film. It is both a pleasure to behold on a story level, as well as a film level. Technically, it is parlaying exactly what it is being mystically told as the plot develops. This movie is a classic example why film schools exist.

''Every great magic trick consists of three parts or acts. The first part is called "The Pledge".

Besides all of the various twists, the acting and casting are phenomenal.
Hugh Jackman was a big surprise success as Rupert Angier, who's choices for deep films like my Fave Fountain isn't just a chance occurrence. Prestige shows Hugh Jackman is a deep man and he's got an excellent agent to boot I'm guessing.
Christian Bale is always on top form in anything mostly, and gives life, depth and a very convincing accent to his character Alfred Borden.
Michael Cane as Cutter shows us a veteran hand, Nolan, Bale & Nolan in a Batman successful collaboration once again.
Scarlett Johansson was also very good as Olivia Wenscombe. Piper Perabo makes a short appearance but very effective and memorable.
Even Legend David Bowie and Andy Serkis popped up as Nikola Tesla and Alley.

Christopher Nolan's Prestige achieves in getting across a tale of dueling magicians, resulting in high quality entertainment and drenched with darkness, true to Nolan's style. Prestige isn't a battle of words, but one where actions speak volume. The film is full of mirroring and doubling, so it's not surprising that the magicians' feud mirrored by Nikola Tesla's equally dangerous rivalry with Thomas Edison over the electricity that may or may not be the key to the mystery...if there even is one at the core...

''The second act is called "The Turn". The magician takes the ordinary something and makes it do something extraordinary.''

Magic is the perfect equation for both stories and film-making, in the way the film could almost be an allegory about why movie buffs usually make the worst movies. Each protagonist is an incomplete man in every sense of the word. Bale has the genius but not the ability to sell his illusions to an audience. Jackman has the showmanship but not the originality to create a truly great trick. In the middle is Michael Caine's engine, the backstage genius with the surprisingly shaky cockney accent, caught somewhere between director and ghost writer in the scheme of things.

''Because making something disappear isn't enough; you have to bring it back. That's why every magic trick has a third act, the hardest part, the part we call "The Prestige".''

Ultimately, it's a film that could be about everything or about absolutely nothing, one that is either led entirely by plot differentiating or one where the themes and storytelling dictate the characters' actions far more than credibility, and where the biggest trick is that ultimately there is no trick. All interpretations seem equally valid, which is part of the fun and puzzlement. And best of all, it's a joy to behold.

''Now you're looking for the secret. But you won't find it because of course, you're not really looking. You don't really want to work it out. You want to be fooled.''

The incredible story of Wolfgang Amadeus Mozart, told in flashback mode by Antonio Salieri - now confined to an insane asylum.

F. Murray Abraham: Antonio Salieri

Tom Hulce: Wolfgang Amadeus Mozart

Simply Beautiful, musical and a genius study of two men. One hell bent on destroying the other in a haze of jealousy.

Amadeus is a masterpiece of music and a haunting tragic story of Mozart with a complex duality to his character.
F. Murray Abraham as Antonio Salieri is fascinating as the man who idolizes Mozart, who burns with jealousy at him, at a talent and creativity he can never possess or muster. We first see him in his old age in a squalid state of madness and memory, in the confines of an asylum.
His pain is wonderfully conveyed, there's a blur between who you feel for, the jealousy burning in his eyes, i love it!
He refers to Mozart as a creature, a plague upon the world and his life, a misery with his talent he inflicts, his talent that should of been Antonio Salieris, but is denied by the obnoxious yet inspirational faceted Mozart.
Antonio Salieri is the mirror reflection of Mozart twisted in the shadows, unlike Mozart's crazy unpractical way Antonio is humble, craving the very thing Mozart possesses, what he takes for granted and uses for his own benefit.
He admires him from afar and later helps him to write when he falls ill. Them writing a masterpiece is a wonder to behold.

''I heard the music of true forgiveness filling the theater, conferring on all who sat there, perfect absolution. God was singing through this little man to all the world, unstoppable, making my defeat more bitter with every passing bar.''

The beginning is genius yet gutting and in a way amusing:
Father Vogler: Oh, that's charming! I'm sorry, I didn't know you wrote that.
Salieri: I didn't. That was Mozart.

Tom Hulce as Wolfgang Amadeus Mozart is a wonder to behold, a genius in music but his character, his laugh, his mannerisms are a vast contrast to his intellectual artistic musical vision. He's got controversial ideas that he pulls off much to the disgust of Antonio Salieri.
Arrogant, childish and very rash in his way, which wasn't my image of Mozart yet shows a talent for musical genius isn't everything.
Tom Hulce I've seen in other films before but this is the best ever performance I've seen him achieve, latest film i saw him in was Stranger Than Fiction, so he's still around in acting terms.

It is not clear if Salieri the anti-God actually killed Mozart or if it was the natural order of things, but Salieri gets his comeuppance, his own "Confutatis maledictis" that is helped along by the more savvy Constanze, who knows what sort of man Salieri really is. The scene where Salieri and Mozart hammer out the Mass is one of the most exciting scenes of cinema in the '80s -- with one man sitting at a desk and the other lying in a bed!

In real life, Antonio Salieri was an accomplished musician, many of whose works remain in print. His stuff fell out of favor -- but Vivaldi predated Mozart and Salieri, and his music was barely heard after his death until the 20th century! Musical tastes change -- how many discotheques are open in the 21st century? Not as many as in the 1970s, I warrant. And there are ample implications in the historical record that Salieri and Mozart got along quite well. So the story inside the beautiful decor is a libelous fiction -- in fact, it's a lot of hooey. But when have novels or films cared for historical fact over a cracking good story? And it's probably more correct to call it a parable.

Mozart and Salieri aren't really meant to be embodiments of their real-life counterparts. Salieri is an archetype. And if Mozart was this much of a bozo in real life he deserved all he got.

All the performances are wonderful, especially in the Emperor's court. Charles Kay is superb, Jonathan Moore is the epitome of sincerity, and Jeffrey Jones expresses more by his extreme underplaying than many more notable actors do in several movies of bluster. Sometimes you wonder if someone ought to take Jones' pulse, but you're always aware of what the emperor is thinking.

The costumes perfect, the beautiful ornate locations shown in all their splendor, all effortlessly combined in a dazzling array of bewitchment and enlightenment.

Us the audience begin to formulate what will happen and how plotting from madness and hatred begins to surface. When the souls of the music leap forth from the pages, when genius turns to betrayal and madness you know you have a masterpiece of grandeur and wonderment.

Amadeus is a legendary masterpiece of epic proportions.

Two best friends become rivals when they schedule their respective weddings on the same day.

Kate Hudson: Liv

The romantic comedy is a type of film that relies on two obvious traits, the ability to make its audience laugh, and the ability to make that very same audience tear-up or at least feel some degree of warmth towards the central characters' love story. Bride Wars, which ostensibly at least, takes the form of your typical rom-com is an example of such that constantly tries to do the former and only hints at the latter only in the background in order to advance plot. The result from this is a middling and sluggishly mundane feature that neither offers memorable characters or even a few cheap laughs. To be fair, there has to be something said for the fact that I am not exactly within the movie's target audience criteria. Yet judging by the reactions of those around me, I got the feeling that what I was experiencing wasn't exclusively restricted to gender.

The story here, which zooms and focuses upon two best gal-pals Liv (Kate Hudson) and Emma (Anne Hathaway) as they try to cope with their simultaneous weddings, is one that is likely to get a few chuckles from females, but less so with their male counterparts. Yes, this is somewhat expectant of a movie titled Bride Wars, but then again, if half of your audience are neglected to the sidelines then you're needlessly cutting yourself short. This stunted, polarizing depiction of "every girl's biggest day" feels fitting to its source material, so women will enjoy this moreso than men, but not by much. You see, aside from the fact that Bride Wars wants nothing more than to cater to cheap gags and sappy melodrama fit to please the Legally Blonde enthusiasts, there also remains blatant problems in just about everything else that fills the movie's first two acts. With little romance to back up the flimsy plot, dull, dry characterization coupled with non-existent chemistry between either the friends and their partners, or even themselves, the vast majority of Bride Wars turns ugly, rather quickly, the movie pushes that this cat fight between Hudson and Hathaway is meant to be fun and airy with plenty of laughs, but it's too transparent and formulated to even move beyond dry caricature.

It doesn't help at all that the majority of the performances from the main cast are remotely daft. Hudson and Hathaway, who are supposed to playing long-time best buddies whom suddenly fall out over a petty dispute, are strangely forgettable, if not repelling, like a pair of unidentifiable twins. In all fairness, both hit the proverbial hammer on the head with their portrayals as stock-pile, cardboard cut-out typecasts befitting of the genre and only the genre, but this isn't exactly saying much. The remainder of the cast, who each have around ten minutes tops of total screen time are just as unremarkable, with Kristen Johnston giving the movie its only real favour and edge. So, what's worse than a romantic comedy with next to no compelling or memorable performances? Not much.

To be lenient however, Bride Wars isn't really a romance at all. At least, that's what I derived director Gary Winick was trying to put across. If anything, the movie exists more as a mildly poignant example of companionship in the form of friends rather than romance. This tangent, which takes full form in the third act, for the most part surpasses the drudgery that comes beforehand, and establishes a touching, if slightly overly done sentimental climax. By all means, it's far too little, too late, but I at least found myself moved by the movie's final statement, even if it was by means of extreme contrast. Yet had Winick went with this theme for the majority of his film, rather than save it for after all the silly, perfunctory cat fight scenes that in turn just about destroy all human shades within his characters, Bride Wars could have been a much more flowing, and relevant feature instead of a strangely wafer thin comedy piece. Instead it exists simply as throwaway popcorn fodder for girls on a night out who have nothing better to do than to revisit the same old characters, wacky situations and sit-com dialogue typical of your average Top Model episode. This is certainly no Devil Wears Prada and it's definitely not going to be affirmatively, kept in memory.

''...But there's also the chance that the one person you can count on for a lifetime, the one person who knows you sometimes better than you know yourself is the same person who's been standing beside you all along.''

Two Boston area detectives investigate a little girl's kidnapping, which ultimately turns into a crisis both professionally and personally. Based on the Dennis Lehane novel.

Casey Affleck: Patrick Kenzie

In his directorial debut, Ben Affleck has completely morphed himself into an emerging artist and even more talented director. Gone Baby Gone might be the most innovative and moral challenging film of recent years. This is the story of young Amanda, a little girl who mysteriously disappears from her home and the activity and dangers that befall upon the people involved in her rescue.

The film stars Affleck's brother Casey as Patrick, in his most challenging and engrossing performance to date. Not since Sean Penn in Mystic River has a role been so subdued yet immensely victorious and depth defying in choice of delivery and spot on emotions. Casey Affleck has paved the way for himself in roles that demonstrate the actor's showcase and give the performer range. It's a bit odd what to make of the younger Affleck in the upcoming awards season. He fairs a better shot for his earlier raved performance in The Assassination of Jesse James by the Coward Robert Ford for a nomination, but his performance in Gone Baby Gone is just as important.
Ed Harris, who's been long overdue for Oscar recognition is purely haunting in his role as Remy, a hard-nosed cop looking for young Amanda. In one scene in particular, Harris shines and gives his best portrayal since The Hours. Although his character is a bit one-dimensional, Harris elevates the material and turns it into his show and steals frame after frame in a role easily submerged in a picture like this.
Morgan Freeman, in a role we have not seen him in before, plays Captain Jack Doyle, the head of the missing persons unit with personal experience in the loss of a child. Freeman, although absent for most of the narrative, sugar coats the top acting talent in the picture. Freeman's agenda into more range projects in his older career is reaffirming his Oscar win in 2003 for Million Dollar Baby, but now with the more rewarding films worthy of consideration.
Michelle Monaghan plays Angie, Patrick's significant other who's personal fears interfere with her involvement in the case. To be honest, Monaghan gets lost in the shuffle and while the audience empathizes with her throughout the latter of the film, she's placed into a role easily overshadowed by stronger supporting casting. Perhaps being the only strong woman role would have gave us something to awe at, but not with the guns at full blaze at the hands of Amy Ryan.
Ryan plays Amanda's mother Helene, definitely not the most likable of characters but tragic in character arc. It's like a full on tennis match going back and forth with Ryan and audience; the viewer is hating her one moment and then needing to hold her the next. Helene is multi-layered and grasps her own importance of parenting and the whole film it becomes a fallen angel lost in the crossfire of conception. That is the tragedy of the film, a film not only about the loss of a little girl, but the loss of innocence and the torment that betrayal brings, guilt and corruption can weigh heavily upon our very soul.

Ben Affleck is completely in control of proceedings, which he has lacked in his acting. He knows what the mission is of this picture and would gladly take a spot amongst some bigger, older talents among Oscar prospects this year. Along with Co-adapting the film with Aaron Stockard, if Oscar is feeling like inviting Affleck to the Kodak, the screenplay category seems like a better fit, especially with an already win for Good Will Hunting. Other possibilities for consideration is wonderful cinematography by John Toll and a great musical score by Harry Gregson-Williams.

Comparisons to Mystic River are all about, being done by the same author how could we expect no less. Mystic River had more of the message of the domino effect of one's actions on others, Gone Baby Gone brings it to a whole new level and scope. This film is about a society, a society who has lost the importance of innocence and the beauty of life. It focuses on the beauty of children and rest assure, when the film is over, if you're not yearning to be a better parent of embrace a child as a blessing, there is probably emptiness in your chest. This film is altogether realistic, truthful, beautiful and spectacular. A must-see film of the year and a pleasant surprise coming from Ben Affleck.

A profile of Ian Curtis, the enigmatic singer of Joy Division whose personal, professional, and romantic troubles led him to commit suicide at the age of 23.

Sam Riley: Ian Curtis

Director of Control Anton Corbijn has finally joined the ranks of his contemporaries Spike Jonze, Michel Gondry, and Mark Romanek in directing his first full-length feature. No one could have been a better choice than this still photographer and music video director of cutting edge bands like Depeche Mode, Echo and the Bunnyman, and, of course, Joy Division themselves with the video for Atmosphere albeit eight years after the death of front-man Ian Curtis. Corbijn has the sensibilities to craft a gorgeous biographical study of a man on the verge of newly found greatness and the humanity of his soul, which keeps him from taking that next evolution beyond. The cinematography is glorious in its stark, high contrast, black and white, the performance scenes feel realistic and genuine, and he captures divine performances from every cast member.

Joy Division's lead singer, as portrayed here: I will admit to knowing next to nothing about the band before viewing, possibly enhancing my pleasure as there were no trace of annoyance when something didn't mesh to reality, was not your run-of-the-mill rockstar. Ian Curtis was an everyman like you and me, a fallible creature, both confused and naive in his young age. Marrying so early in life, Curtis had a child, a day job, and a gig fronting one of the hottest bands of the time. What started as a way for expression, however, soon becomes another slice of trouble in his already crumbling life. When diagnosed with epilepsy, a condition for which he once tried to help afflicted gain employment, he begins a regiment of medication concoctions, hoping to find a combination to alleviate the suffering. Mixed with his late night shows and high alcohol consumption, both frowned upon by his doctor, Curtis maybe the only star I know to have fallen into his psychological descent from prescribed drug use. Ever more depressed as his love blossomed between his wife, child, and mistress, Curtis could never find the balance to deal with the fame and the fans. After all he gave in life and on-stage, they just had one answer for him...We want more.

''I wish I were a Warhol silk screen hanging on the wall. Or little Joe or maybe Lou. I'd love to be them all. All New York's broken hearts and secrets would be mine. I'd put you on a movie reel, and that would be just fine.''

Truthfully, Sam Riley is quite a find. Whether his talent is real or just catered perfectly to this role, I'd like to believe the former...he is amazing. Totally embodying Curtis, Riley's face is never shown with a shred of "acting" noticeable. His blank stares, the weak smiles, the crying, and the pain of his seizures all come across as though we are viewing a documentary. Complete with Curtis' unique dance style, it is like watching history as it happens. Credit the rest of his band mates for adding to the realism in each performance sequence, as well as the supporting cast. I was a bit unimpressed at first with Samantha Morton as his wife Debbie, but that feeling quickly went away. What appeared juvenile and trying too hard to play 20 years old eventually came together as a pretty solid piece of work. Always great, Morton shines when the world begins dissolving around her, but her love for her husband never wavers behind the tears and anger. Besides her, mention also needs to be made for Toby Kebbell as manager Rob Gretton. Starting as comic relief, his character plays a tremendous role in Curtis' life. While the band seemed to be unable to deal with their singer's affliction, Kebbell stays by his side throughout, doing what he can to try and keep him together.

The greatest praise I can give additionally to this film, above even the great performances from the cast, is that it feels like it was really made in the early 80s. It has a BBC2 clunky-kitchen-sink quality ('Come to bed Ian'), that I think may be accidental, but to someone like me who lived in the UK at the time, is more redolent of the era than the twin-tub, pay-phones, and Andrew's Liver Salts in the medicine cupboard combined. It took me to another era of film-going altogether.
More plaudits for letting the actors perform the music themselves, adding authenticity to their roles and an evenness to the musical performances. Even more plaudits for having 'Love Will Tear Us Apart' as the only exception to this. Listening to Ian Curtis sing the words he wrote about the situation unfolding on screen before us in the sharpest of focus brings the pain he felt cutting clearly and directly into the hearts of everyone who watches this perfectly melancholy film.

Control is a remarkable achievement that succeeds by adhering to the one aspect I like in biopics, keeping it simple. We are only shown a few years in his life, the meeting of his wife and band mates and the short-lived tenure of what was Joy Division. This capsule in time is allowed to evolve and flesh out all the emotions and turmoil that went on. From the highs to the lows, the comradery to the adultery, Curtis is always portrayed as the tragic hero he was. Everything his music did for its listeners, all the power and hope it instilled in the fans, came at a steep price. Draining himself of life and confidence and love, Curtis was never going to be able to keep the ride going into the US. Corbijn gets every moment correct, straight through to the inevitable conclusion. Never trying to shock us, he treats the ending with immense compassion and love. Subdued and heart-breaking, Curtis' demise is allowed to be as beautifully touching as the rest of his shortly spanning time among us, a candle blown out too early, too soon.

''So this is permanence; love-shattered pride. What once was innocence, has turned on its side.''

Based on actual events, a plot to assassinate Hitler is unfurled during the height of WWII.

Tom Cruise: Colonel Claus von Stauffenberg

The story of Valkyrie starts by giving us a haunting memoir of the Nazi oath of allegiance to Hitler, a token of total obedience to the Fuhrer, to Hitler. We are given the title transitioning from German to English.
Valkyrie opens with a Colonel Stauffenberg in a Nazi campaign of Africa, penning in a personal journal his thoughts about World War II, and how he feels Hitler is destroying Germany. Stauffenberg states he took an oath to swear allegiance to Hitler, an oath we were given in the beginning of the film layed on the Nazi flag, but our Colonel feels he owes more to Germany, the Fatherland, Sacred Germany. Shortly after, he enlists the help of a general played by Bernard Hill, in a relatively small part, he agrees, yet tragically the camp in Africa is attacked, the general killed, and Stauffenberg is badly hurt, losing his eye, his right hand, and two fingers from his left hand.

Then moving on, we are shown Hitler visiting a base camp in Germany, and a nervous General Trescow(Kenneth Branagh) onlooking. As Hitler prepares to depart, Trescow and an associate hide a bomb in a gift case of drink, and give to a man on Hitler's plane, but it fails to detonate in flight, and Trescow must return to headquarters to retrieve it. Once he arrives, he meets up with who is revealed as a fellow conspirator, a General Olbricht(twitchy Bill Nighy). Trescow safely retrieves the wine case and he and Olbrict discuss a member of their secret committee who was recently arrested. Trescow recommends Olbricht contact Colonel Stauffenberg as a replacement, which Olbricht does, and introduces Stauffenberg to one of the clandestine meetings.

''To understand National Socialism, you must understand Wagner.''

In the meeting, Stauffenberg meets three of the most important figures in the resistance. A Dr. Goerdeler, who will become Chancellor of Germany should the plot succeed, a General Beck, who will lead the Armed Forces, and a man named Witzleben. After tempers flare, Stauffenberg agrees to help. At a later meeting, Stauffenberg suggests they utilize Operation Valkyrie, which is a plan that uses the Reserve Army to keep amongst the Germany country should anything disrupt communications from Hitler, or should Hitler be killed. Stauffenberg rewrites the order to exclude the SS from taking control, which would leave the head of the Reserve Army, General Fromm, in charge of Germany. Reaching out to General Fromm, Stauffenberg and Olbricht are surprised at his rejection, but Fromm keeps quiet, choosing to neither support the dissenters nor reports them to the authorities. Meanwhile, General Trescow is sent to the front lines. Stauffenberg is promoted to head of the plan, and he, along with his assistant Lieutenant Haeften, take the order to the Berghof to be signed off by Hitler himself. Hitler, with his inner circle present, praises Stauffenberg's loss of appendages as the attitude necessary for his military, and states Stauffenberg is the ideal German. He then signs off on the bill, saying he's sure the changes are adequate.

The Operation Valkyrie of the title, was a plan developed for the Reserve portion of the German Army and approved by Hitler himself. It was intended to be used in the event of a breakdown in law and order within Germany or the countries it occupied, a breakdown caused by Hitler's death or civil unrest. A group of officers who were a part of the German Resistance to Hitler, could see the way the war was heading, that Europe was being laid waste and Germany was losing, and they were also disturbed at aspects of Nazi rule - the Death Camps for instance and the killing of civilians ? so they plotted to kill Hitler and utilize an amended Operation Valkyrie for their own ends to take control of the nation after Hitler's death and to negotiate a truce with the Allies. If it had worked, they would have used Hitler's own plan against him. But crucial to the plan was Hitler's death. The plot was aborted once, and when finally carried out in 1944, failed to kill its target. Poor communication, indecision on the part of some of the plotters and a late start in implementing Valkyrie led to complete failure and within hours all the plotters had been rounded up and executed.

''You can serve Germany, or the Fuhrer. Not both!''

The plot was lead by Colonel Stauffenberg (Tom Cruise) who was put in charge of Valkyrie and made Chief of Staff to General Fromm, after being badly injured fighting in N. Africa. He had access to Hitler but was also to be vital in the follow up to the assassination, which according to a source I read, ruled out a suicide attack. Which was a pity, because as I watched this, I couldn't help pondering how much the course of history might have been changed had Stauffenberg chosen the current favoured method of assassins, the suicide bomb. Had he got closer to Hitler at that fateful meeting and sacrificed himself, instead of leaving the bomb under a solidly built wooden table which helped shield the Fuhrer from the blast, the whole course of history since 1944 might have been different. Still, it wasn't to be. Hitler was dead anyway nine months later, committing suicide in his Berlin bunker as the Allies approached. Berlin was carved up amongst the Allies, the Death Camps were finally liberated and the Cold War began.
Tom Wilkinson plays General Fromm, who was commander of the Reserve Army, and the only person apart from Hitler who could put Operation Valkyrie into effect. He ordered the execution of Stauffenberg and the other plotters but was himself executed in 1945. Other plotters included Colonel von Quirnheim (Christian Berkel), Lieutenant von Haeften (Jamie Parker), General Beck (Terence Stamp making a rare appearance as a good guy) and Fellgiebel (comedian Eddie Izzard, who is the most miscast Nazi I've ever seen) They all excel with their roles and scripting, apart from under-used Branagh and weird Izzard. The location shooting is perfect, often using the real life settings in Germany (for instance the plotters are executed by firing squad in the courtyard of the real Bendlerstrasse.) The lack of German accents (widely commented on) is quite appropriate. Given that everyone in the movie would have been speaking German, there is no need to give them distracting accents at all. The use of accents is really only necessary when the audience is expected to distinguish between several different nationalities in a movie, this to me felt like a Boy in the striped pyjamas or Schindler's List manner of usage language wise, in the sense it works because of the audience and Western world it is aimed at.

Overall, Valkyrie is a historical, accurate portrayal of a group willing to stand up against corruption and decadence, a man whom sacrifices so much for his Country and one whom is willing to stand up to a sadistic mass murdering proclaimed dictator. This film Bryan Singer has given us, works, it clicks and it also gives us a tense thriller laced with intrigue and a story that needs telling, needs emphasis and passion in it's passionate attempts to take us back to a time of great suffering and injustice. With most films with this type of plot and story telling we know the end, but that's not what's compelling, it's the journey.

''Long live sacred Germany!''

An adaptation of Homer's great epic, the film follows the assault on Troy by the united Greek forces and chronicles the fates of the men involved.

Brad Pitt: Achilles

The release and making of Troy held slightly unfair, overblown expectations. All critics expected it to be, just like Gladiator. But why on earth would it be? They are not the same. A few points include: they're not set in the same period, the same country, nor are they about a similar topic. One is about a war, the other a personal vendetta. One is made up, the other is based on stories told over 3,000 years ago. In fact, one could almost say that the only things they have in common are sandals and swords. Oh, and remarkably everyone speaks English. Which is helpful for lazy western audiences.

Troy is a horrendously budgeted epic, and this clearly shows in its impressive production values, whether it's the awesome sight of the 1,000 ships sailing across the Aegean Sea, or the brutal battle scenes, everything looks right. However, whilst this is all well and good, problems Troy stem from the source material.

''I've fought many wars in my time. Some I've fought for land, some for power, some for glory. I suppose fighting for love makes more sense than all the rest.''

The credits claim the film was "inspired by The Iliad", and here is the first error. The film is historically inaccurate and incorrect, and this is most obvious towards the end. The Iliad is the story of Achilles, and does not involve the infamous Wooden Horse, or even the sack of Troy. These are covered in later epics The Odyssey and Virgil's The Aeneid. It's as if the director never read these works, and made up the rest of the story as he went along. Not that it makes too much difference to the story, but those familiar with the epics will feel cheated. Also the motives for the war, whilst they made absolute sense in the society in which the stories were first told, don't hold true anymore. In the epics the stories were concerned with heroes, honour and love. That this war was started because Paris stole someone else's girl just doesn't sit well with a modern audience, and so they cannot relate to these heroes. It doesn't help with the fact that the audience doesn't know which side they should be rooting for? there are in the stories, no real goodies and baddies, merely two nations each with their own heroes. The director has to take time every now and again to reiterate the reasons for the war, that of Paris' love for Helen, but tries to give a more believable reason by giving Brian Cox's character of Agamemnon a more imperialistic bent, deviating further from his source.

I've envisioned Troy to seem like a disaster, but it is in fact not a complete loss. If the audience can just accept the reasons for the war, then there is little problem in enjoying the rest of the film. The beginning is slow to get going, but once Achilles (Brad Pitt) and Hector (Eric Bana) have their one-on-one clash, the film reaches a momentum it does not lose. The battle scenes easily rival any seen on the big screen to date, and most of the cast do an impressive job in portraying their heroes in varying degrees of suffering. Honours should be given to Eric Bana for his role as the suitably regal heir to Troy, who suffers the wrath of Achilles in a simply choreographed yet remarkably compelling clash, and to Peter O'Toole who plays Hector's father and king of Troy, Priam. Also, contrary to most critical response, Brad Pitt plays the character of Achilles with a suitable display of bravery, power and shows one hell of a temper, even though after his fight with Hector his motivation for staying is lost. Orlando Bloom's Paris is a little weak, turning into Legolas without the contacts and blonde wig, towards the end, and Diane Kruger's Helen lacks dimensionality, but other than this, the cast are fine. Aside from a few niggles - including a fairly clunky script which does the film no favours - and an extensive running time, Troy is an enjoyable film, which deserves to sit high up in the ranks of sword-and-sandal epics.