The Eagle (2011)

The journey of a Roman warrior and his slave to find the lost Eagle of the Roman army, and restore his family's honour.

Set during Roman-occupation of Britain, The Eagle follows the efforts of a young Roman soldier called Marcus Aquila (Channing Tatum) to recover the golden emblem of the lost 9th Roman Legion. Marcus' father led the infamous 9th Legion into the Northern territories of Britain, where the lands are a barbaric mix of brutal landscapes and unforgiving tribes. When the 9th Legion failed to return home safely, the name of Aquila was tarnished with dishonour. Having rose through the ranks of the Roman army, Marcus sought to regain his family's honour by being a great military leader, which he was, until during his first battle he is severely wounded. Given an honourable discharge, Marcus is left with unfulfilled desires, until he learns that the golden eagle of his father's legion has been seen in the north. He quickly heads to border between Roman Britain and the unconquered north with his slave Esca (Jamie Bell). Esca is a Britain who was captured during one of Rome's battles with the natives, his family was slain by the soldiers, and he remains a bitter individual. His loyalty to Marcus only exists due to a chance encounter whereby the Roman soldier stopped the slave from being brutally murdered.

As the duo head north in search of the emblem, the balance of power shifts between them. Marcus is now the unfamiliar enemy, while Esca is the native-speaking guide. Their uneasy co-existence is the most compelling aspect of the film, one that draws the viewer in. Jamie Bell is brilliant as Esca, his reputation grows stronger from each film. Tatum, initially, is hard to care about. Only in the second half does his appeal grow.

The battle scenes of the film are often labored and stagnant. They try to draw inspiration from films such as Troy and 300 but it is not in the same league. A more interesting film would have focused more on the relationship of the two main characters, and avoided cinematic devices like heads being chopped off and blood spurting everywhere.

Viewers may find it difficult to become attached to the characters, as the quest is an outdated search for honour and pride, one that modern audiences may not relate to. However, if you enjoyed the likes of Kingdom of Heaven and Centurion, this is probably a film for you. The romantic slant on Roman occupation is heavily felt, especially in the first half of the film. It is a pretty movie though, with great landscapes and interesting tribal characters. The dialogue is not too cringe worthy, and the story is entertaining, if not old fashioned. Of the current films out at cinemas is lacks the appeal that bigger and better films have (such as Battle: Los Angeles or Unknown).

The Blind Side (2009)

American socio-drama that literally "tackles" issues of race, homelessness, class and...Football.

From director John Lee Hancock, comes a film inspired by a true story about a homeless, abandoned black youth, who is taken in by an affluent white family, and his talent for American Football. Michael Oher (Quinton Aaron) is a lonely child whose life has been tough. Sleeping on couches, moving from foster families, a mother addicted to crack, his world is the forgotten society of America. When he finds himself enrolled at a private Christian high school, he remains homeless, teachers unwilling to help him, and having to scrape his way through. Until a chance encounter with a tenacious mum and her white collar family lands Michael a spot on their couch, and a place in their life.

Leigh Anne Tuohy (Sandra Bullock) is the mother of the Tuohy family, and she is an organised, determined designer for celebrities, and her no-fuss approach to life extends to her home. After taking Michael into her home, Leigh Anne goes in search of the boy's unknown past, and learns more than she bargained for. After changing Michael's life, the Tuohy family all experience a similar change, and their perceptions of race and class alter permanently. The collision of cultures makes for a dramatic tale, the prejudices and conflicts are a constant source for great movies. In addition to Michael's disruption to the white suburbs, he also catches the attention of the authorities, who believe that the Tuohy family are "boosting" him (bribing him in order to take his athletic abilities to a college of their choosing).

A heartwarming film that relies heavily on issues rather than the excitement of American football. The clash of cultures is a popular element to movies, however, The Blind Side is a worthy addition, one that has vivid, engaging characters, and excellent story development. Indeed, the structure of the film becomes layered as it goes on, adding many different aspects which are compelling. Bullock's performance is inspiring, worthy of her accolades, and many of the other supporting parts are well performed, making for a high class film.

Viewers should not fear a large amount of football, it is far more focused on the drama of the characters. The only football which is shown is entertaining and adds a tempo that is important to drive the movie on. Music is well chosen, creating excellent atmospheres along the way.

If this film does not bring a tear to your eye, you are probably dead inside.

Robin Hood (2010)

Director Ridley Scott produces a Hood film worthy of the legend.

Mythical hero Robin Hood has been the subject of many productions, and his name conjures a multitude of different representations. When a new Robin Hood film was announced, its only saving grace was that Scott was on board as director, and the results are impressive.

The story begins during the crusades, as King Richard the Lion Heart makes his way back to England. During a bloody siege of a castle, the King is killed. As part of the King's army, Robin Hood and his fellow archer friends, realise the predicament of the situation, and must make their way back to England immediately. Fate throws them a lifeline after they stumble upon an ambush of the King's men, and overthrow the enemy. With the opportunity to pose as Royal officers, Hood and his gang are able to find passage home. Whilst in character, Hood must then present the crown of the fallen King to his Mother, who then crowns her other son Prince John.

Hood then makes his way to a small village to fulfil his promise to one of the King's men who died in the ambush, to take his sword back to his father, Sir Walter Loxley. Whilst there, Hood must maintain his false identity, this time as Loxely's son, in order to stop the man's land being taken away from him. This involves Hood pretending to be married to the lovely Marion Loxley. As Hood's life become a complex world of deceit and defence, his country spirals into chaos with the new King John on the throne. Political treachery is at hand, and the barons of the country rise in arms against the new king who is determined to bleed them dry. A secret French invasion adds to the conflict, and Hood becomes more than a pretend landowner.

It is an intense portrayal of the Robin Hood story, which takes the King Richard/King John era and the Magnacarta, and uses it perfectly to create a film that is robustly entertaining. Russel Crowe provides a brilliant performance as Hood, one which is gruff, dark and heroic. Cate Blanchet is superb as Lady Marion, with a performance that is engaging and realistic.

Scott does an excellent job of creating a 13th Century England that seems authentic in its dirtiness. The royal drama of the castles is contrasted geniusly with the downtrodden villages and battlefields.

The film is of an extended length, running at two and a half hours with the directors cut, but one of those films that is worth the extra minutes. It is a well developed story that encompasses a lot of history. Some of the editing is weak in places, voices become mumbled and incoherent, but that could be down to the "interesting" accents several of the actors adopt.

In summary, a Robin Hood film that is earthy, fulfilling and expertly executed.

Blazing Saddles (1974)

Mel Brooks' infamous Western comedy that still manages to push the boundaries of taste and decency.

In another installment of Brooks' movie collection, this reviewer stumbled upon the infamous Blazing Saddles, a cowboy-spoof about a small town in the wild west that is under attack from the evil politician Hedley Lamarr (Harvey Korman). Lamarr attempts to turn the town on itself by urging Governor William J. Lepetomane (Mel Brooks) to appoint a black sheriff. Cleavon Little plays Bart, the new, black sheriff, who is street smart, and uses his wit and intelligence to avoid the violent threats of his new townspeople. With the help of a has-been gunslinger known as the Waco Kid, or Jim (Gene Wilder), the formidable duo go about undoing Lamarr's evil plan to ruin the town, and run a train line through it.

Arguably Brooks' best film (apart from Spaceballs), the movie is full of slapstick moments, outrageous characters, and hilarious songs. The comedy of the film is heightened by the daring script, usage of the N-word in a way that undermines the intense racism of the period, and the comments about American society in the future.

The most appealing aspect of this film, and the element that elevates this film above some of Brooks' less favourable, is the warm relationship at the centre of the film between Jim and Bart. The sheriff's brave and naive attempts at gaining the town's acceptance, coupled with Jim's cowardly knowledge, go together brilliantly.

Expect a storyline that seems stapled together, as with most of Brooks' films, but enjoy it for that reason (the medley of Western references make for an excellent watch). The film stands out as an excellent example of Brooks' brilliance, and has the enduring liberality for which he stands.

Green Zone (2010)

The War on Terror as it should be depicted: violent, messy, unstable, and treacherous.

After the tumultuous attempts by Hollywood to tell the story of the war in Iraq, Paul Greengrass follows up his awesome United 93 with a movie that avoids the heroic patriotism or the paranoiac corruption that so many have opted for, and just tells the story with the facts that we know...mostly.

Matt Damon plays rogue U.S. Army officer Chief Miller, who becomes disillusioned with the false intelligence that report WMDs in locations that are empty, and takes matters into his own hands. With the help of a humble Iraqi citizen and his loyal band of soldiers, Miller goes in search of the Iraqi army leaders, in an attempt to find the elusive Weapons of Mass Destruction. As the complexities of war in the Middle East begins to mount, Miller finds himself caught between a violent enemy, and a corrupt friend.

A worthy film, that is poignant and telling. Rather than attempt to understand the whole of the war, Green Zone examines the fateful beginnings, looking at the mistakes that led to an insurgency that would last years. The storm clouds that gather are depressingly real, and the audience cannot help but hope for a different outcome than the one we know will arrive. Damon is a superb choice for the role of Miller, giving depth to the action hero. Locations are excellent, making the film feel claustrophobic and gritty. One of the downsides is that this film, like the war, keeps a tempo that is hard to maintain, and audiences may find it difficult to keep up. It is, however, and excellent film that stands head and shoulders about most of its rivals.

Few films about the war on terror are worth mentioning, but Green Zone falls into that selective category. Others, for me, are Rendition, United 93, Lions for Lambs and a few others.

One wonders about future representations of the wars in Iraq and Afghanistan, and whether filmmakers will produce movies that capture the deeply troubling issues at the heart.

Desperado (1995)

A Mexican shoot-em-up that does not stop shooting.

Antonio Banderas plays El Mariachi, a gunslinging, guitar-playing sex symbol, avenging the murder of the woman he loved. Through the dirty towns of Mexico, El Mariachi seeks a man called Bucho and his gang, taking him into violent bars, through drug-dealing streets, and into...a quaint book shop run by the beautiful Carolina (Salma Hayek). Banderas relies on his chum Steve Buscemi to create a myth about El Mariachi, to install fear into those he chases: the man with a guitar case full of guns who can win a fight against a room full of violent, gun-toting hard men. As El Mariachi closes in on his prey, his limits will be tested, and his objectives will change.

This film is a cool, action, violent, shooter that doesn't try to be deep and meaningful, just plain entertaining. The gun fights, of which there are numerous, are stylishly shot, with plenty of high-octane stunts to please any testosterone fuelled viewer. Sweat, blood and guts are everywhere. Director Robert Rodriguez produces some excellent set-pieces that link the story together nicely, while keeping the tempo up and bullets flying.

Banderas is decent as the lead role, maybe a couple too many cheesy lines. Buscemi is excellent, as always. His penchant for playing intriguing characters is captivating, and his delivery is superb.

One of the most impressive aspects of this film, is the music. Awesome rock tracks, mixed with bluesy tunes, create a soundtrack that fits with the action perfectly. One cannot escape the energetic angst that beats throughout this movie. Locations are excellent, and a certain seen with a certain Quentin Tarantino is particular impressive.

A film for a guys night, with a few beers, and some nuts!

Prince of Persia: The Sands of Time (2010)

A film about loyalty, brotherhood, honour...and time travel?

Set during the Persian empire, Prince of Persia: The Sands of Time is an epic battle between good and evil. The Persian royal family consists of King Sharaman, his two biological sons Tus and Garsiv, the King's brother Nizam, and an adopted street rat called Dastan. Amongst these five powerful figures lies a story of treachery.

After the successful invasion of a neighboring city called Alamut, for suspected arms dealing with the enemies of Persia, Sharaman's sons are held in honour for their victory. A celebration is thrown later that night, during which the King is poisoned and the finger is pointed at the only non-noble son Dastan, who then must flee and avoid the death penalty. While on the run, Dastan unwillingly teams up with the queen of Alamut, Tamina, whose only mission is to restore the sacred dagger which Dastan now holds, ignorant of its power. Their journey will cross both the deserts of the east, as well as the boundaries of time, as both attempt to fulfill their destiny.

From Disney, and the producer of Pirates of the Caribbean, this film is an action packed family treat. The battle scenes roll seamlessly into each other, and there are moments of comedy and love to entertain any household. Be warned, it is a child's film. Expect theatrical fight scenes and mild peril, not intense drama and earthy realism. It is a nice film to watch on a lazy Sunday afternoon, with great locations and entertaining stunts.

Jake Gyllenhaal is worthy as the lead role of Dastan, and Ben Kingsley is admirable as Nizam. The supporting cast does a decent job of filling in the gaps. Some of the characters which emerge during the film are very engaging, and make for a richer viewing experience. The history behind the film is superb, and if this movie gets kids reading about the Persian empire then I say well done Disney.

If you are twelve years old, and enjoyed The Mummy and the Pirates franchise, this is a great film for you.

I Am Number 4 (2011)

Teen science fiction has a new franchise, and it is rather good.

As 2011 shapes up to be a decent year for cinema, director D. J. Caruso offers a cinematic blockbuster that delivers an intriguing premise that promises some entertaining sequels...if successful.

The story (originally a book) is about a group of aliens hiding out on earth, after their own planet Lorien is destroyed by murderous rivals, Mogadorians. Nine of these aliens are special, they have powers that would have enabled them to protect their planet, but now they are on the run as the evil Mogs chase them. Each of the chosen nine has a guardian, who is tasked with the duty of protecting them. After three on the nine are brutally murdered, Number 4 John Smith (Alex Pettyfur) must go deeper into hiding in order to survive, however, when he arrives in Paradise Ohio, Number 4's life will be complicated even further by high school, bullies, and his first love.

A film that has the appearance of a terrible teen movie, it takes a while to shake that stigma. The opening thirty minutes are a predictable beginning to a sci-fi film aimed at adolescents. It is only when John comes into his powers that the film finds its strength, and we get to experience the possibilities that are entailed by this ET series. As the stunts get bigger and better, the acting seems to become less of a problem, and audiences can just enjoy the ride.

Performances worthy of mention are hard to find is this film. The lead role is more of a swimsuit model than anything else. Although, I would mention that his brooding, stony essence is far more desirable than the cocky quick-mouthed heroes that audiences are used to. As the film develops, Pettyfur's appeal grows as his silence avoids the usual pitfalls of action heroes. Jake Abel as Sam the school bully is worth mentioning, his character is a charismatic leader amongst goons, whose penchant for comedy makes him one of the more engaging people of the story. Dianna Agron as the love interest is excellent, with an understated elegance that makes for more than just eye candy.

Alongside a decent storyline, this film has excellent music, with up-to-date tunes placed perfectly to elicit the maximum response. In addition, the locations of the film create a road-trip America that is murky and beautiful at the same time, and avoids the sheen that so many teen flicks utilize.

BUT, this film is not without drawbacks. The performances are mediocre for the most part, and the script borders on terrible (in the interest of a fair warning, try and avoid listening to John's over-voicing, it is excruciating). However, as a cinematic film that attempts to start a new worthwhile franchise, I Am Number 4 does a half decent job, and I for one would like to see more. Do not expect a revolutionary film, just a movie that tells a good story in an entertaining way.

The Soloist (2009)

A compelling, performance-driven movie that takes aspects of classical music, homelessness, and mental illness, and shakes them up on the mean streets of LA.

From director Joe Wright, The Soloist is based on a true story about a writer for an LA newspaper who encounters an extraordinarily talented homeless man, and the two become friends. Robert Downey Jr. plays the role of Steve Lopez, a journalist for the L.A. Times, whose life is chaotically unfulfilling. One day, while attending a lead for a story, Steve finds himself in conversation with a rambling homeless man in front of a statue of Ludwig Van Beethoven. The bum is called Nathaniel Ayers (Jamie Fox), and he carries with him a shopping trolley full of possessions, including a violin with only two strings, which Nathaniel can play expertly. Ayers, while musically gifted, is also suffering from schizophrenia, which causes him to be incoherent and distracted.

Lopez decides to write a human interest piece about Ayers, and it strikes a chord with the readers. Afterwards, the journalist finds it hard to detach himself from Ayers, and continues a fragile friendship with the prodigy. He learns that Ayers can play more than just the violin, and that he attended Julliard (a prestigious musical college). As Lopez continues to learn more about Ayers, he becomes concerned that he is getting too close to the vulnerable homeless man.

A poignant story that entwines some excellent plot lines. The juxtaposition of classical music with extreme poverty is superb, and the eclectic setting of Los Angeles is an urban delight. At this story's core, however, is a relationship between two characters who need something from someone else. Ayers needs a friend, and Lopez needs something to care for. They are difficult characters to portray, however, Fox and Downey Jr. are outstanding, giving an instant connection with the audience. The subtle cracks in the relationship are displayed with a tender professionalism that could only come from seasoned actors.

Criticism of this film lies in the editing. While the connection between schizophrenia and the way the film is shot is appreciated, it does distance the viewer from the story. It can be hard to follow in places, and the voices in people's heads gets a bit distracting after a while. There are, however, some excellent sequences where the two main characters bond, and one scene where music is played over some brilliant colour graphics that is very engaging.

A worthwhile film, that would have amounted to more had the story been more coherent. Aspects of both character's backgrounds go unexplored, however, the heart of the film is there. And it beats like drum.