The Martins (2001)

That’s when good neighbours, become good Fiends.

Lee Evans and Kathy Burke star in this British black comedy about a family-from-hell, whose dad goes on a crime-spree in order to give them the holiday of a lifetime.

Evans plays Robert (the aforementioned dad), whose life on benefits starts to become less than bearable, after he loses a newspaper competition to win the holiday of a lifetime. In reaction, Robert first attacks the newspaper’s yuppie editor, before crusading round the streets of urban England with a gun in his hand, threatening his way towards his prize.

Aside from the relentless use of curse words and the ridiculous storyline, The Martins is a charming story about the toils of reality. Robert’s struggle for success, while misdirected, is relatable for many viewers, and even though his family of lower-class miscreants may linger on the hopeless side of the tracks, they are still a nuclear family who love each other.

Evans gives a good comedy performance, translating some of his stand-up moves onto the silver screen, whilst Burke offers the film its most talented performer - regularly stealing scenes.

An interesting peak into the world of Jeremy-Kyle-type families, with a few laughs along the way.

Broken (2013)

The Trouble With Britain

Social dysfunction has long been on the tongue of politicians in the UK, arguing about issues concerning the youth of today - especially in light of the summer riots in 2011. Rufus Norris’ film, based on the novel by Daniel Clay, examines the heartbreaking tragedy the lies beneath the surface of British society, through the eyes of childhood.

Set in a small cul-de-sac in suburban England, our story is seen, largely, through the eyes of Skunk (Eloise Laurence), a young girl who lives with her solicitor father Archie (Tim Roth) and brother Jed (Bill Milner). Across the road from Skunk, live the Buckley family - a husband and wife, with their awkward son Rick. And across the road from the Buckley family live the Oswalds. There, the dad is called Bob (Rory Kinnear), and he lives with his three mouthy girls.

One day, Skunk witness Mr Oswald attack Rick outside the Buckley home, which we later learn is due to Mr Oswald being told by his daughter that she had slept with Rick (a lie the girl was forced into, after her dad found an empty condom packet). This sets off a chain of events between these three families that reveal the hardships of modern parenthood, as well as the daunting prospect of growing up in today’s Britain.

Norris utilizes staggered sequencing which allows moments in the film to be revisited from a different perspective - such as the attack on Rick which comes first, and then we see the events which caused it. This storytelling device is extremely effective as it allows a sense of evaluation to take place - we see the fallout before the cause, and how decisions can lead to such brutal consequences.

Essentially, Broken could stand for broken families - but that would ignore too much of the film’s larger themes, such as the broken communication between people in the street, or a broken sense of community. Bob Oswald, arguably the film’s villain, does not act out of evil or a sense of hatred - he is simply trying to do best by his girls. Similarly, when Rick’s father fails to confront his son’s attacker, he does so out of hoping to do best by his son.

These questions around the issues of parenting are what make the film a loud voice amongst the modern debates - asking the audience to find where they went wrong. The film also pits larger themes against each other, such as the innocence of youth versus the fragility of adulthood, and the idea of courage versus pragmatism.

A social drama with huge amounts of subtext, Broken is a standout British film. The performances are superb, the story is expertly interwoven, and Norris’ genius behind the camera make this one of the most intelligent and gripping films of the year.

The Artist (2011)

A silent victory

Much was said about The Artist, during the prolonged awards season where it reigned supreme, and scooped up five Oscars - including Best Picture. Critics lauded its modern take on the silent film, calling it a triumph and a true underdog story. But was it deserving of these accolades?

The story is about a prolific silent film star, called George Valentin (Jean Dujardin), whose unrivalled career in the movie business is set to come crashing down with the advent of the Talkies (films with sound). Set during the late Twenties, and early Thirties, during the onset of the Great Depression, we see the world around George change, as he remains a has-been, made all the more tragic by the meteoric rise by a girl called Peppy Miller (Bérénice Bejo). George had been Peppy’s introduction into the world of movies - gaining her access to a film set as an extra, where she went on to make a career for herself - becoming the new face of modern movies.

A beautifully made film, The Artist makes heavy use of an orchestral score in order to fill the void of a voiceless plot. The shots are undertaken with a genius direction, from Michel Hazanavicius, who creates an authentic looking silent film fit for a modern audience.

Whilst the storyline is a little too linear for some, there can be no doubt of the talent on screen - as proved by an outstanding tap-dance by the two leads, and the daring behind making a theatrical release of a silent movie in the 21st Century, is something deserving of recognition.

Breaking Dawn: Part Two (2012)

The end of a Saga

For all the fanfare, hype, inglorious t-shirts, celebrity gossip columns and vampire spin-offs, the Twilight Saga has finally come to an end. Few other franchises can boast of this kind of success, regardless of the critical backlash, and the legacy is clear to see in the effect it has had on popular culture.

Breaking Dawn: Part Two, picks up where we left off, with Bella (Kristen Stewart) waking up as a blood-sucking Cold One (not a beer). She managed to survive giving birth to her mutant baby, Renesmee, who now grows at an alarming rate, and becomes the catalyst for the film’s final showdown. Bella, the Cullen clan, and Jacob (Taylor Lautner) must face off against the powerful Volturi, the head of the vampire network, who see Renesmee as a threat to the survival of their kind.

In order to gain support, the family use their vampire contacts around the globe to come and see Renesmee, and prove she is no threat. Through this, we see an array of X-Men-like abilities in these different vampires - from the woman who can channel electricity, to a guy who can control the elements. As they bundle together in the Cullen family home, a fight to the death seems imminent.

More entertaining than the first part, the makers have managed to pack a bit more action into this film, whilst maintaining the gooey romance between Bella and Edward (Robert Pattinson). It’s as stylishly filmed as before, and utilizes some brilliant CGI - in particular during the immense battle near the end.

Where the film falls down, however, is the plot. It seems too strung out (it needn’t be two films), and the impending doom wreaks of clichéd heroism. Performances are awkward at best, and the constant use of an indie soundtrack becomes irritating the longer it goes on.

Besides a stylish climax and exhilarating battle sequence, Breaking Dawn: Part Two fails to shed the burden of its former half, and remains a bulky, worn-out affair that will appeal to the die-hard fans, but few others.

Justice (2011)

…best served cold

A man accepts help from a group of vigilantes, after his wife is attacked, to bring justice to the perpetrator, only to find the repayment plan extortionate.

Nicholas Cage plays Will, a mild mannered school teacher, who is forced into the extremes of a criminal world after he accepts the help of a secret vigilante group, who believe they are cleaning the streets. Once in their debt, Will discovers a world of corruption and illegality that he must traipse through in order to survive, whilst looking for a way out.

A thrill-ride that offers a decent menu of stunts and chases, and some intrigue, but fails to delve deeper into the plot, for fear of exposing the flimsy storyline. Cage gives a worthy performance, offering up the emotional complexity of a man stuck between a rock and a hard place, who chooses an easy way out only to find it the rockier path.

American Reunion (2012)

Grown Ups

Thirteen years have passed since Jason Biggs defiled that pastry, and now the party is coming to a close - with this final farewell from the gang of American Pie, back together with the original cast.

American Reunion, as it says on the tin, sees our sexually-frustrated friends join forces back in their home town for their school reunion - only now, they all have adult lifestyles. Jim is married to Michelle, and the two have a baby; Oz is a famous sports broadcaster; Kevin is married; Finch is a mysterious globetrotter…and Stifler is an intern.

As the group trawl their old hunting ground, they realise how much has changed since they have been away, both in themselves and in the new generation - whom they see as unruly. However, it is not long until the famous shenanigans resume, and we see the usual cocktail of Jim’s humiliation, Kevin’s idealistic longing for the past, Finch’s hidden secrets, and Stifler’s moronic, yet hilarious, immaturity.

A revisit to an old friend is always fraught with peril - it could be boring, it could be awkward, and it could just not feel the way it used to. Luckily for American Reunion, they avoid these pitfalls, and instead take what worked with the original film and put it into a new context. This refreshed idea makes the film more than bearable.

There is a lot of complaining about adult life - but since most of the audience for the original film would have been in their teens when they saw it, this will fit well with them now. There is also a lot of drinking, a staple of the American Franchise. However, there is an emotional arc for Jim’s dad, whose wife died.

A definite watch if you loved the first film, but expect the usual keg-fuelled knob gags and needless nudity.

Yes Man (2008)

The power of yes

Jim Carrey stars in this comedy about a man living a pitiful existence, who discovers a new, radical concept - say yes to everything.

As the title suggests, this film is about the power of yes. The idea that being agreeable to all of life’s suggestions, will somehow empower you, and make your life more enjoyable. This is not quite the case for Carl (Carrey), who, at first, does enjoy the fruits of an existence lived in the affirmative, but finds out that life is about more than a simple answer.

His journey goes into more exciting times when he stumbles across kooky wild chick Allison (Zooey Deschanel), whom he falls in love with. Their relationship, however, quickly begins to suffer at the hands of Carl’s lifestyle choice as it spirals out of control.

A funny film with a brilliant performance by Carrey (reminiscent of his good old days). Yes Man makes some pointed comments about modern life, whilst arranging an entertaining love story that will appeal to the mainstream. On the predictable side, and utilizes some worn out rom-com methods, but apart from that, Yes Man remains a commendable comedy.

Also, look out for an awesome rant by Carrey after a homeless man causes him to be left stranded without gas in his car or life in his mobile phone - hilarious.

Code Name: Geronimo (2012)

“100 per cent is hard to come by these days”

Capturing the build up, and execution, of the mission that would kill Osama bin Laden, John Stockwell’s independent war film puts the human touch on the Navy SEALS that would end this most tragic chapter in American history.

Since 9/11, the world has been bombarded with every type of popular culture depicting the War on Terror. Films, television series’, video games, and scores of internet chat rooms, have been dedicated to dissecting this most controversial topic, attempting to find some kind of universal truth to the events of that day, and its heartbreaking fallout. Needless to say, Stockwell’s film offers little in the way of closure on that topic - only a depiction of the death of a primary character, and becomes little more than an addition to an already crowded club.

Similar in style to a game of Call of Duty, or an episode of Homeland, Code Name: Geronimo plays out in a similarly fast-tempo fashion, jumping between several storylines, and constantly changing location in order to convey the global aspect of this event. We are given the triple-plot structure: the guys behind the desk, the guys behind the binoculars, and the guys behind the guns - all of whom fight for the same side.

The plot is quite simple: a source at the beginning of the movie (under extreme duress), offers some intelligence about a possible terrorist, hiding out in a rural part of Pakistan. From there, the mission becomes to locate and identify this suspect, and the evidence quickly begins to point very high up the Most Wanted list. Regardless of the inevitable outcome, this film asks all of the “what-ifs”.

We are offered some scant background on most of the SEALS involved, which gives a small degree of depth to their situation, but not nearly enough for audiences to become emotionally involved in their fate. Surface scratches are made at some of the big themes that emerge from being in the U.S. army - such as being separated from their kids, or fidelity between soldiers and their wives, but with little exploration, and certainly no solid conclusions.

There is a sense of relief as the mission builds to a tense gun-fight by the end of the film, almost reflective of the ten years it took to find, and kill, the al-Qaeda leader, but nothing seems solved. There is no sense of peace that emerges, just a desperate sadness that it had to come to this, and that the war goes on - something which Stockwell hints at by posting small bits of text during the credits about the ongoing situation.

The film does well to represent the American side of the story. We are shown the soldiers, and their varying reasons for being in the army, but little attention is given to the wider issues of the war. The story prefers to remain on one side of the fence, something which stops it becoming a considerable voice amongst all the others.

Despite sturdy performances from Prison Break alumni William Fichtner and Robert Knepper, the film fails to deliver a truly memorable cast. Most of the characters are given little amounts of screen time, and the result is a gang of forgettable and replaceable action-men.

The premise was daring, and the subject matter controversial, but the eventual execution lacked depth. Strong characters arcs and thematic discussions are substituted for needless action sequences and a short running time.

Get Him To The Greek (2010)

The answer is Snow

Born from the outrageous mind of Jason Segel, this outlandish comedy starring Russell Brand and Jonah Hill is like The Hangover meets Spinal Tap.

Hill plays an ambitious music-industry intern called Aaron, who is charged with creating “the next big thing” in the biz by his unnerving boss (P Diddy). Aaron’s fascination with an expired Rock N Roll star called Aldous Snow (Brand) sees him try to reignite the once bright flame, for one hell of a live show at the Greek Theatre (hence the title).

Obviously reluctant to re-enter the limelight, Snow begins an arduous torture of the poor young Aaron, by dragging him through the crazy lifestyle of a has-been rocker - 24-hour partying, consistent refusal to obey flight departure times, and forcing Aaron to smuggle narcotics inside his…(spoiler alert).

As the layers of Snow are cleared (nice weather pun huh?) what is revealed is a desperately unhappy man, whose crippling loneliness can only be covered by relentless adoration and illegal substances.

Funnier than most would presume, Brand and Hill make an unlikely, yet brilliant comedy duo. The set-pieces are clever and memorable, and the wickedly funny songs that Snow sings are also catchy and entertaining. A little on the shallow side, but so are most of the best comedy films, and this one does well to toe the line without slipping into ludicrousness.

What To Expect When You're Expecting (2012)

Baby Formula.

Nothing is more certain to drive crowds of oblivious couples to cinemas than a star-studded rom-com about the foibles of adult life. In a similar style to the spectacularly forgettable Valentine’s Day (2010), WTEWYE follows the lives of multiple couples, as they all cope with the onset of parenthood in varying ways.

Some of the stars include: Cameron Diaz, Chris Rock, Elizabeth Banks, J-Lo, Dennis Quaid, and Anna Kendrick, although the storyline prevents very little interaction between the different actors, instead leaving them within their own, personal journeys of baby-hell.

There is, of course, a smorgasbord of adult situations which are displayed in all their riotous hilarity - from the woman whose pregnant body seems to betray her at every public moment (Banks), to the control freak who doesn’t listen to a word her partner tells her (Diaz). We are also shown some more tear-jerking moments with the girl who loses her baby in a miscarriage (Kendrick) and the woman who can‘t conceive (J-Lo). All of which give the viewer a pretty good round-up of all that can happen when you get pregnant.

Alongside the outrageously unpredictable antics of these ladies-in-waiting, we are also shown the male side of the story - something that usually goes without more than a puff on a cigar and slap on the back. This provides for the film’s most comedic aspect, a group of guys who take their babies to the park and talk about all the mishaps they have managed to get away with, whilst yearning for their freedom by idolizing the local (baby-less) stud.

This film survives on a few central characters who manage to keep the film falling off the rails. Kendrick’s storyline, and performance, is worthy of mentioning, as is Bank’s talent for her relentless willingness to embarrass herself in films. But, save for the bro patrol in the park, this film is a lukewarm bottle of milk, when it could have been so much more.

The erratic speed of the first half creates a dizzying experience something similar to the nausea of pregnancy, but the film never quite achieves focus, and instead seems content to ride out the remaining minutes with cheap laughs and predictability.

Star Wars: Episode V - The Empire Strikes Back (1980)

How many henchmen can Vader kill?

OK, here goes. I have never watched Star Wars. I am a twenty-four-year-old man/child who, somehow, avoided seeing the Star Wars films. Actually, that’s not quite accurate, I did watch The Phantom Menace at the cinema - maybe that explains it. So, in order to catch up with, what seems like, the rest of the planet, I managed to catch the second film on my Sky box (having seen most of the first one the previous week - I did not review that due to not seeing the whole movie).

Star Wars, for any other cultural hermits out there, is an intergalactic action/adventure franchise that began in the late 1970s, when pioneering special effects man George Lucas wrote a sci-fi story based around an evil empire that wants to control the galaxy, and the fight by the rebels to stop them. Mark Hamill plays Luke Skywalker, leader of the rebels, whose journey in this film sees him find the legendary Jedi warrior Yoda, who will teach him how to use the Force for good (the force being some kind of cosmic connection to the galaxy which allows superpowers).

Meanwhile, the evil Darth Vader and his Empire are on the hunt for Skywalker, and happen upon their rebel base. A spaceship chase ensues, as Vader attempts to take down the Millennium Falcon - piloted by Skywalker’s close buddies.

It’s a thrilling and brilliantly made film, one that puts together momentous special effects with compelling characters and a thoughtful two-prong storyline. The action sequences are where the film is most effective, creating highly tense moments and awesome stunts.

Regardless of the franchise’s status as, arguably, the most iconic sci-fi films of all time (I’m sure I just heard a ghost whisper “Harry Potter”), it must be said that The Empire Strikes Back is still a compelling and thrilling watch, an enduring sci-fi classic that renders modern action/adventures impotent.

Underworld: Rise of the Lycans (2009)

Every War Has A Beginning

The bloody, gothic world of the vampires versus the werewolves is told in an “origins” format - depicting the start of the feud between the two nightmarish clans which would give birth to the darkened franchise.

Existing almost completely without Kate Beckinsale (save for an introduction), this threequel prequel (still with me?) tells us the story of how the Lycans came to be a formidable enemy for the ruling Vampires. At first the werewolves are kept under strict control by their blood-sucking masters, especially when their most powerful member, Lucian, is used as a weapon against his own (out of loyalty to the vampires who spared his life).

However, Lucian loses favour with his vampire masters, after breaking free from the fortress where he is held prisoner, in order to save his lover (who happens to be the head vampire’s daughter). Lucian is thrown back into the pit of downtrodden werewolves where he finds a new resolve and ambition - to bring about the rise of the Lycans.

It is all very melodramatic stuff - lots of posturing, gory make-up and even gorier fight scenes, but this third film in the franchise offers little in the way of originality - or even any improvement upon the previous films. The plot is still tiresomely thick, weaving through heavy verse-like stages of the history between these clans with a reckless attention to details, and the over-acting becomes quite distracting as the film develops.

Strength lies in the special effects, especially the moments where men turn into werewolves, but even this does not have the majesty of a film like An American Werewolf in London (whose transformation scene is still the one to beat).

The film misses Beckinsale, who gave the previous films a humanity it sorely needs, and the fact that she returned for the fourth film is testament to her necessity.

Dead Poets Society (1989)

Oh Captain, My Captain

Remember that one, truly inspirational teacher at school? No, me neither, but if I had had one, he would probably have resembled Robin Williams’ John Keating from Dead Poets Society.

Set during the 1950s, in an all-boys private school, Keating is a controversial and inspirational teacher, who not only manages to get his stuffy-prep students interested in poetry, but also inspires them in other aspects of their lives. Keating urges his pupils to seize the day, finding the beauty in the world and to dream - a mission statement which bangs head on with the school’s curriculum, not to mention the uptight parents.

By using unorthodox teaching methods, Keating is able to show the boys life outside their insular, privileged existence, teaching them to become individuals and free-thinkers. Acting almost as a precursor to the decade which would follow, the boys soon find their lifestyle at loggerheads with the “man”.

A spirited and charming film, Dead Poets Society has a nostalgic enjoyment factor dripping from its textbooks. The filming is warm and cosy, the music is rousing/emotive, and Williams’ performance is riveting (although, his similar, but better, performance in Good Will Hunting should be lauded higher).

The film is slightly let down by uneven performances amongst the boys. Ethan Hawke delivers a somewhat intriguing portrayal of the shy new boy, but for the most part, this group resembles a bunch of rich kids with little in the way of likeability.

Overall though, the film delivers a heart-warming message about the importance of identity, as well as making prudent comments about education and childhood - it may just seem a little out of place with the “Attack The Block” generation.

Drive (2011)

A Man of Few Words

An emotionally gripping, brutally truthful action film about a withdrawn stuntman-cum-getaway-driver who becomes involved in his neighbour’s life.

Ryan Gosling plays the man known only as “Driver”, a man of few words, who drives for a living - in many different mediums. Talented behind the wheel would be an understatement, the man is able to perform high octane stunts, evade the police, and even ram cars off the road - all skills which he ends up needing.

Carey Mulligan plays his timid neighbour Irene, who lives in the apartment next to Driver, with her son Benicio, whilst Benicio’s father is in prison. After a couple of run ins, Gosling becomes attached to the pair, and we see the blossoming of an emotional attachment between him and Mulligan. This is soon thrown into chaos, though, with the release of Irene’s ex-convict partner Standard, whose life amongst the free and innocent is threatened by criminals of his past, who want compensation for protecting him whilst he was “inside”.

The Driver, out of affection for Irene and her son, offers to help Standard out by being his getaway driver in a pawn shop heist, only for it to all go wrong, leaving a huge target about the Driver’s head.

A genuinely gripping, atmospheric movie, Drive offers an alternative to this already worn out genre. Rather than present another Fast and Furious film with more bang for your buck, Drive is about an emotional truth between the Driver and Irene - an innocent, unspoken love that goes unspoilt but human misdeeds, and beyond the typical facets of human relationships.

Indeed, the obvious feelings between the two lead characters are only ever depicted in a platonic light, never succumbing to sexual transgression, which contrasts amazingly with the film’s more brutal crime plot.

The violence is eye-wincingly graphic, offering up some intimate combat that would rival a Scorsese film. The performances are excellent, in particular Gosling as the reserved, almost to the point of autistic, hero, as well as Mulligan, who gives the perfect portrayal of the modern damsel in distress.

A brilliant film.

Empire of the Sun (1987)

Spielberg makes a man out of Christian Bale.

Steven Spielberg’s affecting war film, set during the Japanese occupation of Indochina during the Second World War, about a resourceful English boy trying to survive.

Christian Bale (barely recognisable as a prepubescent boy) plays Jamie Graham, the son of affluent parents living in the far east when the Japanese invasion takes place. Jamie becomes separated from his parents during the ensuing chaos, leaving him all alone in a very scary city. He is soon picked up by two sailors who are also attempting to ride the war out, and Jamie comes to find a semi-father figure in the brutally pragmatic Basie (John Malkovich), who keeps “Jim” with him when it seems convenient for himself.

The pair, along with some of their other western buddies, find themselves in an internment camp, where they attempt to live out the remaining years of the war - living off rations and being enclosed in dilapidated huts. As Jamie’s youth rapidly slips away, the nature of his upbringing becomes the story’s emotional hard line.

Almost textbook Spielberg, Empire of the Sun is an emotionally gripping film that delves into the nature of conflict and pitting it against the innocence of youth. Jamie’s struggle to survive seems to represent our own humanity’s struggle to remain afloat - as we see many adult characters committing heinous crimes, and being completely selfish (typified by the character of Basie).

Bale’s performance is incredible, delivering way above the usual child actor portrayal of his age. We see him tackle heavy moments of drama, grandiose action sequences, and a range of tender scenes, all with an intelligence beyond his years.

Malkovich is a worthy companion for the movie, offering up some complicated depth to this “survivor” character.

Standing up to the test-of-today, Spielberg’s undoubted legacy will have some hot contenders, but Empire of the Sun deserves a place amongst the greats.

Chasing Amy (1997)

Dick jokes? Nah.

From the eternally foul-mouthed mind of Kevin Smith, comes his brutally funny Rom-Com, about a comic-book writer who falls in love with a lesbian.

Starring Ben Affleck as the aforementioned writer, and Joey Lauren Adams as the aforementioned lesbian, Chasing Amy is an post-adolescent exploration of human relationships, and all their hilarious foibles.

Jason Lee plays Affleck’s outrageously rude colleague, whose homophobic dick jokes go down like a lead balloon, but later develop into a slightly unbelievable character arc. There are small cameos for Smith himself, as well as his partner in crime Jason Mewes, as their terrible twosome Jay and Silent Bob.

The film benefits from an incredibly sharp script, full of ballsy social commentary, and outlandish insults, as well as a very strong performance from Adams - whose sexual complexities and masculine swearing make her a confounding character.

Affleck is not in his element yet, acting wise, struggling through the emotional stuff, and only just delivering the comedy, whilst Jason Lee is hilarious.

Far more developed than some of Smith’s films, Chasing Amy is on the one hand brilliantly funny, but painfully romantic on the other. In other words, come for the jokes and try to endure the sappy stuff.

Underworld: Evolution (2006)

Shares in Fake Blood anyone?

The gothic fantasy is back, and this time, in the war between the vampires and the lycans, Selene must survive along with the hybrid Michael, as the secrets of the ancient feud rear their ugly, and blood-splatteringly violent, heads.

Vampire films have received a lot of bad press, mostly due to the public’s saturation with them. If it’s not Edward-hearts-Bella t-shirts, then its any number of television programmes which have emerged in recent years to bombard us with blood-sucking anti-heroes with a little too much sexual tension.

The Underworld films, predating most of this stuff, offer little more in the way of substance for the genre; they are atypical vamp-flicks with a hardcore gothic style, and bucket loads of fake blood. They are, however, a little more confusing.

The plot of this film is enough to perplex most viewers, especially with the common Christian names being bounded about - Michael, Marcus, William, Viktor…erm, Corvinus, all of whom are referenced, but not always shown - scratchy head time. And the ins and outs of this feud between the vampires and the werewolves is ludicrously complicated, especially on a first watch.

This being said, Underworld: Evolution is a step up from its predecessor, and benefits from a more relaxed pace, better action sequences, and yes…awesome gore. Kate Beckinsale, as the lead heroine, is a worthy champion of the series, giving us a kick-ass female warrior without all the pouting.

Having not seen the next two, I will endeavour to watch them soon in order to get a full picture, but my hopes are that they at least reinvent their vision - or at least keep stepping up the eye-wincing gore.