Reviews by Lexi

''You see that pale, blue dot? That's us. Everything that has ever happened in all of human history, has happened on that pixel. All the triumphs and all the tragedies, all the wars all the famines, all the major advances... it's our only home. And that is what is at stake, our ability to live on planet Earth, to have a future as a civilization. I believe this is a moral issue, it is your time to cease this issue, it is our time to rise again to secure our future.''


A documentary on Al Gore's campaign to make the issue of global warming a recognized problem worldwide.

Al Gore: Himself

My first thoughts after watching Truth is that more films like this need to be made in this style.
That show we have to change our ways because quite frankly the world we live in doesn't deserve negligence from the worst thing this planet has going for it: Us...

Al Gore's An Inconvenient Truth is informative, detailed and something like a lesson you would have at Uni College or even School that doesn't deserve to fall on deaf ears.

It's message is simple, we as a people need to wake up no matter what Country we are in and make a difference in the way we think about Global Warming and conjure and muster up a way of doing something to make it better.

It has humour, it has beautiful, realized charts, facts and features to get it's point across. Al Gore is a charismatic powerful figure who's doing the right thing, not just for himself but for everyone.

End of the day we cant keep ignoring these issues and hoping someone else will fix them in future generations to come but to do something now, make things better at this moment and grasp it. Of course it's going to be a gradual thing but this is something that overshadows even terrorism.

One day the Earth won't be there, so let's stand by Al Gore and make sure our Planet stays about for longer. Not just for ourselves but for our children and our children's children...

A heart felt film that shows not a boring documentary but a masterpiece with a message that hits home.

''Here kitty, kitty...''

A loan officer ordered to evict an old woman from her home finds herself the recipient of a supernatural curse, which turns her life into a living hell. Desperate, she turns to a seer to try and save her soul, while evil forces work to push her to a breaking point.

Alison Lohman: Christine Brown

''I beg and you shame me?''

Sam Raimi's Drag me to hell is an interesting venture. Experience a piece of nostalgia as we go back in time and have this new story but with an Evil Dead style storyline. This horror film proves itself to be not a strictly scary piece of cinema but rather more a sort of black comedy which will have you in fits of laughter at the supposedly sick happenings. Despite the content Drag me to hell's sequences of blood and gruesome gore will entice and amuse rather than shock and tantalize.

I couldn't help but notice that Drag me to hell has some superb original ideas and to contrast that it can be boring and feature some poor acting. One thing is for sure this is B-Movie substance, just like Evil Dead was. I was particularly impressed with a fight scene in a car, a rather shocking kitten sacrifice, and a graveyard scene which was purely horrific. Yet the ending was abit of a let down in it's entirety, and sadly predictable. Other than that, Drag me to hell manages to be a rather comic horror, but not in the same league as Evil Dead. It's just not scary enough.

''I desire the SOUL of Christine Brown. We will FEAST upon it while she festers in the grave!''

Performances range from a Alison Lohman as Christine Brown, whom I haven't seen before, she manages to do a reasonably good job as the films main protagonist. Sometimes she proves to be abit wishy washy and naive, others she is believable. Which is strange.
Justin Long as Clay Dalton is typical Justin Long, he seems no different in his style of acting. Similar to Die Hard 4.
Dileep Rao as Rham Jas I liked as the Indian medium, he had a strange charisma about him which also was funny and also made you warm to him.

Overall Drag Me to Hell is full of its epic shocks, and the less you go in knowing about it the better. I could go on for ages about the story and spoil everything there is to know, but that would truly ruin some of its charm it has to offer. Which is certainly not to say that it is lost after a first viewing, just that it's an experience unlike any other going into this movie watching virtually no clips and reading very little about it. It becomes a truly rewarding venture.
Sadly no Danny Elfman doing the music for Raimi, due to their fall out. Instead we get the haunting tones of Christopher Young, which prove to be similar.
Drag me to hell proves to be a mixture of fun, a bag of goodies which have sweet and sour surprises for the viewer. For me when the end comes, there is still something I wanted but never got from the whole experience, but never mind.
Raimi going back to his roots after blockbuster franchise Spider-man, going back to his formulaic horror origins, and Drag me to hell is worth checking out if you are an admirer of his previous films.

''I beat you, you old bitch!''

''We've been fighting a long time. We are out numbered by machines. Working around the clock,without quit. Humans have a strength that cannot be measured. This is John Connor. If you are listening to this,you are the resistance.''

After Skynet has destroyed much of humanity in a nuclear holocaust, a group of survivors led by John Connor struggles to keep the machines from finishing the job.

Christian Bale: John Connor

Terminator Salvation blasts off the summer with it's action packed, sci-fi war time apocalypse theme and this time it doesn't even need Arnie magic to be a metallic mesmerizing piece of blockbusting glory. Yes we have Christian Bale hitting another franchise as the main prophet leader John Conner, looking slightly reminiscent of his Machinist days. But we can forgive that, this is the future, this is a world at war...at war with machines.
From the word go Terminator Salvation does not stick to the same formula the other Terminator films followed, not at first at any rate.

The twist being that we have not just humanities salvation in question but also the salvation of one man, or if you wish, one machine. The soul being equal to either in opinion. Terminator Salvation takes two roads and gives us a dazzling array of characters in which to relate to.
Whether it be Bale's wooden, angry, seriously brooding John Conner, or Sam Worthington as tough good guy terminator Marcus Wright, or boyish rogue Anton Yelchin as Kyle Reese whom strikes gold with another performance as with Star Trek for a rising star, he's got more films ahead of him I'm sure of it.
Helena Bonham Carter was an interesting appearance, although a computer sequence in which she explains the whole point of the machines purpose kind of made me cringe with unemphatic predictability.
Moon Bloodgood has a good romance with Sam Worthington which is believable, unlike Bryce Dallas Howard and Bale who fail to be considered a couple in love, the kiss they share is almost as wooden as Bale appears to act sometimes. Granted it may not be there entire fault but I fear a tension between the two during filming perhaps.
Common does a similar role of what he did in Wanted but shows he can do this type of action movie.

''You and me, we've been at war since before either of us even existed. You tried killing my mother, Sarah Connor. You killed my father, Kyle Reese. You will not kill me!''

So Terminator Salvation isn't overly original, it borrows some sequences from Transformers, for instance a tentacled machine tied to a table, mirrors a certain scene in the former. It may not have alot of new ideas, but what it lacks in originality it makes up for with great sequences, some great effects, despite a few plot holes and looping, this is a great effort to carry on the Terminator legacy. An animated appearance of Arnie may shock, and definitely to me seemed surreal, Bale being thrown around by a 10ft Schwarzenegger seemed to defy belief.

Overall Terminator Salvation is another blockbuster to start the summer, and definitely and adrenaline rush from the word go. It may not be a rival for the new Transformers popularity but it definitely has alot of spirit and ideas to a franchise that has been around for just as long. When you reach the end, you know it's not really the end...Terminator Salvation is just the beginning...again...and you know they have to make more terminator films to keep the money coming in.

This is Alex Curran, leader of the resistance, signing off...(John Conner is having a heart transplant, so standing in for the poor chap).

''Win or lose, this war ends tonight!''

''Your father was captain of a starship for twelve minutes. He saved 800 lives, including yours. I dare you to do better. Enlist in Starfleet.''

A chronicle of the early days of James T. Kirk and his fellow USS Enterprise crew members.

Chris Pine: James T. Kirk

To put it simply Star Trek isn't just a reboot of a dying franchise, Star Trek isn't just a summer blockbuster, Star Trek isn't just sci-fi effect laden fun, Star Trek is an adventure, experience and humourous coming together of characters and creatures. This gives Star Wars a run for it's money and ultimately taps into something new the originals and new sequels lacked, spontaneity.



It's not just fresh visuals and new characters the music is new also giving the whole film a fresh, reborn, vibrant feel. J.J Abrams has successfully tapped into his vein of originality, poise and vision with stunning effectiveness. LOST, Mission Impossible 3, the writing behind Cloverfield and now Star Trek show us how imaginative a director Abrams is, and that we can expect more to come from this man.
Star Trek features some of the best effects and action sequences, to rival anything Transformers or Wolverine can throw at us. Indeed they surpass the former attempts in some cases. An example of a fight scene on planet Vulcan, on a very large coil, was an amazing adrenaline rushing experience, with swordplay and fisticuff fighting between Kirk and some Romulan assailants. The space battles were competition for Revenge of the Sith with some of the best visuals to appear to date, reminiscent of the Halo series in terms of looks and execution.

''Live long, and Prosper.''

Characters are relatable and likeable to audiences. Whether it be rebellious Kirk, Intellectual Spock and their fiery relationship and clashing of personas, wonderfully played by Chris Pine and Zachary Quinto, who strike the nail on the head perfectly. Eric Bana plays villainous Nero effortlessly, Bruce Greenwood excels as Capt. Christopher Pike, Karl Urban is likeable as the quirky witty Dr. Leonard 'Bones' McCoy, Zoe Saldana is the beautiful Nyota Uhura, Simon Pegg is the comical Scotty, John Cho the sword trained Hikaru Sulu, Anton Yelchin the Russian Pavel Chekov, Ben Cross as Sarek and Winona Ryder as Amanda Grayson Spock's Mother.

The film has been compared to Iron Man in more than one review the similarities are clear. Both films feature excellent dialogue and character interactions, swift, clever characterization, a minimum of laborious exposition, and also have a common flaw: a rushed plot which overall is almost a side plot. The only reboot to truly escape this pitfall thus far is Casino Royale, which successfully told a very tight story and also consistently developed Bond as a character. Bana is menacing enough and his ship is well-designed but overall he's no Khan or Chang and was much better-written in the Countdown prequel comic than in the film itself. There are also a series of massive contrivances to get everything where it needs to be which will have viewers rolling their eyes, but even these are handled well by the script, which is smooth and fast as opposed to clunky and sterile. Plus, they're necessary for this origin story not to be a typical boring origin story and become what it is.

It's a new directive, yet totally faithful to Trek where it needs to be: in spirit and inspiration. In a world of dreary blockbusters and 'dark' reboots, this Trek, though grittier in terms of design than anything before, shines, from opening to closing, as an example of optimistic, exciting, thrilling, humorous, and thoroughly enjoyable adventure action packed sci-fi cinema.

''Space... the final frontier.''

''GOOD LAD!''

A look at Brian Clough's 44-day reign as the coach of Leeds United.

Michael Sheen: Brian Clough

The film effort The Damned United is a delightful inside glimpse at a period in time, focusing on a certain manager, a manager called Brian Clough. Director Tom Hooper incorporates live footage from televised news reels of the time with real time actors and happenings on set. The Damned United is going back to the day, living yesterday and being in awe of the good old days, the days when drinking and smoking before a football match were excepted, the dirty tactics of Leeds United and their brawling babaric methods with opponents, can be over-looked. This is a day when drinking tea on your lap was the norm, and football just wasn't simply about money, it was about pride and real competition.
Peter Morgan the talented Writer of The Queen and Frost/Nixon reunites for a hat trick with chameleonic Michael Sheen. Michael Sheen can tick off another box on his list, of his mimicking magic of iconic Englishmen as his witty performance is a key reason for what makes The Damned United a pleasure to behold. The performances stand out with many well done performances by the leading cast, in particular Sheen and Spall who show a very impressive on-screen bond, as Clough and Taylor.

Michael Sheen's Brian Clough is an entertaining, arrogant but likable character with self-destructive flaws. Obviously he has the best lines (unfortunately many of which feature in the trailer) and some of his best scenes are with Timothy Spall's Peter Taylor, whom finds their friendship severely damaged at various points as the events transpire. Clough's vulnerability and insecurities are explored in his relationship with Taylor and the audience learn that only as a team do they conquer English football. Clough's apparent hatred for Revie stems from being snubbed by the latter at an early Cup match. This experience drives Clough's ambition to not only succeed, but to attempt to eclipse the architect of Leeds United's Golden Age. Along the way we learn about the now familiar friction between the Manager and the Chairman, the task of signing players and the universal theme of pride coming before a fall.
Set in the late sixties/early seventies and seamlessly interspersing the action with real footage and interviews as aforementioned, this film enables the audience to embrace the spirit of the times.

Peter Taylor: Are you going to stop it?
Brian Clough: No, I'm going to fight him.

As with legendary picture Frost/Nixon the story caters for people with very minimalistic knowledge of the subject matter and as such, it can be enjoyed by football fans, history fans and film fans alike. Plus there isn't a huge amount of actual ball kicking by the cast, so people won't switch off. There is an obligatory montage, but it's nicely done and over quickly.
The only downside to this film is that it's a little bit short if anything, but it leaves you wanting more which can only be a good thing. There's a mild bit of comical swearing throughout, which is justified given the situations the lead characters face.

Overall, The Damned United provides historical entertainment, laughs galore and fun beyond most fantasy and blockbuster films dream of achieving. This is one of those Michael Sheen triumphs you want to be there for, especially at the end when we even see the end results for the characters in the aftermath of Clough's 44 day management of Leeds. This for me was a wonderful climax, a beautiful conclusion and an absolute pleasure to experience. Plus the fact I say again, that my friend whom is a football/film fan, plus me whom loves history and film, plus acting and brilliantly portrayed characters, this is a golden movie to watch and for a universal audience. The Damned United is a perfect adaptation and tribute to a man who wasn't afraid of burning ambition, perhaps showing off a tad too much but in doing so he did some amazing things. His friendship with Peter Taylor is beautifully captured here, Spall and Sheen shine, Damned United shines.

''If you want to be loved, you're going to have to change.''

''You on one side, me on the other. It's perfect.''

A pair of corporate spies who share a steamy past hook up to pull off the ultimate con job on their respective bosses.

Clive Owen: Ray Koval

Duplicity comes from Director Tony Gilroy and is also written by him. The beginning starts of in a typical way, that entices said viewer into watching, with it's pair, in the guise of Clive and Julia, plus the two bosses fighting in a surreal, over the top, and heightened way, at a meeting.
This turns out to be a comedic piece combined with a blatant double act of a thriller and a medium paced play on play.

Performances and character wise, Julia Roberts as Claire Stenwick, is the crafty female lead whom teams up with Owen, and boy do they make a lovably effective duo. Getting past the fact Julia has the weirdest lips to look at,she does indeed look dazzling and uses witty dialogue and effective lines. The trouble being this isn't really a role different from any other role she has previously done albeit it's one where she has abit of fun admittedly.
Clive Owen as Ray Koval,really does succeed yet again, at showing us, that this is the guy who should of been Bond. Whether it be the manly gentleman way he acts, his seducing acting, and his usage of high-tech gadgetry, this really sticks it out in the sun to see in a way that is coming all too apparent with every new film Clive does.
When we first meet Claire Stenwick and Ray Koval (Roberts and Owen), they are drinking it up in Dubai at the US consulate. She isn't the least bit interested in him and he is working her as hard as he can. I didn't hear it but he must have said the right thing at some point because they end up in bed together. Of course, she was only sleeping with him so that she could drug him and steal some super secret international spy stuff. And naturally, he put aside all of his super secret spy training and allowed himself to be taken in by her beauty.
He has strength, he is no pansy and he is a typical cliche of sophistication and gruffness.
Moving on to the other players, we have great casting right here, Paul Giamatti, Tom Wilkinson as two corporate bosses get down to it, adding to the sublime acting and Paul reuniting with Clive Owen yet again after the wonderful collaboration with Clive on Shoot Em Up.

The other aspects that shine in Duplicity is the wonderful music,the locations and the witty dialogue.
Director Gilroy's last directorial effort was his first. Michael Clayton earned him respect from critics and contemporaries alike as the film went on to earn a number of Oscar nominations, including Best Picture and Best Director. Gilroy enlisted some of the same players he worked with last time out, including composer, James Newton Howard, cinematographer, Robert Elswit and even cast member, Tom Wilkinson, rejoins the gang as the head of one of these soon-to-be-conned corporations. How is it then that when all these wonderful additions got together last time, they achieved such subtle perfection while this time, Howard sounds as though he were ripping off the Ocean 11 through to 13 scores and Elswit is practically washed out?
Perhaps the blame can be placed on Gilroy's most tired screenplay in years. By keeping corporate espionage grounded in reality last time out, he made it fascinating and palatable. By infusing it with Hollywood convention, the whole game was played out before it even began.

Roberts and Owen have shared the screen before in Closer (2004) which was rather more adult, so I heard, yet still need to have the pleasure of viewing. There's a chemistry between the pair which, while not coming close to previous pairings, it is still fun and playful to watch. And this is where the show comes into its own. It's a flimsy, watchable affair that's fun for the most part. Duplicity is predictable, stylish and fun yet for it's flaws it still shines thanks to the killer lines and comedy that ensues.

''You're gaming me!''

''Do you even know why you're supposed to kill me? Look at us. Look at what they make you give.''

Bourne is once again brought out of hiding, this time inadvertently by London-based reporter Simon Ross who is trying to unveil Operation Blackbriar--an upgrade to Project Treadstone--in a series of newspaper columns. Bourne sets up a meeting with Ross and realizes instantly they're being scanned. Information from the reporter stirs a new set of memories, and Bourne must finally, ultimately, uncover his dark past whilst dodging The Company's best efforts in trying to eradicate him.

Matt Damon: Jason Bourne

From the word go its non-stop action, one of the best action films of modern times in existence. The clever aspects about the third installment is that it's wonderfully directed and executed by Paul Greengrass, it outdoes its predecessors in terms of pace and edgy cinematography, plus the facts that this scenario, this modern story of a Government secret experiment training program, could be real, individuals tapping into our phones, or being targeted and eliminated at any point, any number of cameras or face recognition techniques to clamp us down or capture us become frighteningly realistic.



Bourne Ultimatum features some of the best chases ever committed to celluloid. The chases in this are truly mesmerizing and the sound/beats, accompanying music, plus shakey camera work adds to the tension and teeth grinding element of the heightened mood.
Julia Stiles smile at the end priceless, her reminiscent familiarity to a lost love of Jason's, David Strathairn foreboding, excellent, and relentless in his pursuit of Bourne, and of course main star himself, Matt Damon whom is perfectly on form yet again, Identity and Supremacy being relative warm ups compared to this peak of a paralleled pursuit for the truth. Even the inclusion of Veteran actor Albert Finney another fine addition.

''Issue a standing kill order on Jason Bourne, effective immediately.''

Human, emotion,empathy, compassion, the question and unwavering answer of the mirrored, rising hero in touch with his humanity or a robot programmed follow-order cold assassin. The latter being a lonely road. No links, friends or family. End of the day do the right thing.

The Bourne Ultimatum is another addition to the series based on a novel by Robert Ludlum. It's positive message and detailed fast paced scenes will have you captivated in its almost two hour running time. Once again, Matt Damon is back again and seems more at ease than he was in the other two movies still wondering how or who put him in the predicament that he's in now. This time Bourne is in London and a reporter (Paddy Considine) informs him of an organization called Blackbrier, a more menacing organization than Treadstone that's run by an evil CIA agent, who wants Bourne dead. Also in pursuit of Bourne is a girl named Pam Lundy (Joan Allen) who has faith, that Bourne is not a threat that the CIA assumes he is. And the city-hopping is off in full swing up to his final destination in New York where he fights off his ex-handlers.

Though not a thinking-movie like the slower paced The Bourne Supremacy, this movie depends more on action and non-stop chases, for all action fans. And anyone who gets in Bourne's face, will likely get pummeled. Bourne has Blackbeier's henchman after him who seem to expose similar traits as him. But Bourne is more well-versed than them, so that gives him still the upper edge. Very tense scenes on the rooftops of Tangiers to the traffic-laden streets of the Big Apple, the chase reign supreme.

As a conclusion The Bourne Ultimatum obliterates James Bond into a trash can and pummels the living daylights out of it, while remaining the action film of the decade!
The end symbolizing Bourne beginning again like it started, water being a rebirth of sorts, and Greengrass leaving the possibility of carrying on the Bourne Legacy. If another installment is this action packed and this deep into the psyche of an Agent rebelling against his old immorally correct masters, then definitely I would love to see Bourne return to the big screen, a modern albeit troubled hero of unrivaled dizzying heights.

''I remember. I remember everything. I'm no longer Jason Bourne.''

''We have to arrive in America looking like princes!''

The story is set at the beginning of the 20th century in Sicily.

Charlotte Gainsbourg: Lucy Reed

The Golden Door is a telling and rendition of a Sicilian family's journey from the Italy to America. Salvatore, a middle-aged man who hopes for a more fruitful life, persuades his family to leave their homeland behind in Sicily, take the arduous journey across the raging seas, and inhabit a land whose rivers supposedly flow with milk. In short, they believe that by risking everything for the New World their dreams of prosperity will be answered. The imagery of the New World is optimistic, clever and highly imaginative. Silver coins rain from heaven upon Salvatore as he anticipates how prosperous he'll be in America, carrots and onions twice the size of human beings are shown being harvested to suggest wealth and health, and rivers of milk are dove in and flow through the minds of those who anticipate what America will bring. All of this imagery is surrealistically interwoven with the characters and helps nicely compliment the gritty realism that the story unfolds to the audience. The contrast between this imagery versus the dark reality of the Sicilian people helps provide hope while they're aboard the ship to the New World.

The voyage to the New World is shot almost in complete darkness, especially when the seas tempests roar and nearly kill the people within. The dark reality I referred to is the Old World and the journey itself to the New World. The Old World is depicted as somewhat destitute and primitive. This is shown as Salvatore scrambles together to sell what few possessions he has left (donkeys, goats and rabbits) in order to obtain the appropriate clothing he needs to enter the New World. I thought it was rather interesting that these people believed they had to conform to a certain dress code in order to be accepted in the New World; it was almost suggesting that people had to fit a particular stereotype or mold in order to be recognized as morally fit. The most powerful image in the film was when the ship is leaving their homeland and setting sail for the New World. This shot shows an overhead view of a crowd of people who slowly seem to separate from one another, depicting the separation between the Old and New Worlds. This shot also suggested that the people were being torn away from all that was once familiar, wanted to divorce from their previous dark living conditions and were desirous to enter a world that held more promise.

As later contrasted to how the New World visually looks, the Old World seems dark and bleak as compared to the bright yet foggy New World. I thought it was particularly interesting that the Statue of Liberty is never shown through the fog at Ellis Island, but is remained hidden. I think this was an intentional directing choice that seemed to negate the purpose of what the Statue of Liberty stands for: "Give me your poor, your tired, your hungry" seemed like a joke in regards to what these people had to go through when arriving at the New World. Once they arrived in the Americas, they had to go through rather humiliating tests (i.e. delousing, mathematics, puzzles, etc.) in order to prove themselves as fit for the New World. These tests completely changed the perspectives of the Sicilian people. In particular, Salvatore's mother had the most difficult time subjecting herself to the rules and laws of the New World, feeling more violated than treated with respect. Where their dreams once provided hope and optimism for what the New World would provide, the reality of what the New World required was disparaging and rude. Salvatore doesn't change much other than his attitude towards what he felt the New World would be like versus what the New World actually was seemed disappointing to him. This attitude was shared by mostly everyone who voyaged with him. Their character arcs deal more with a cherished dream being greatly upset and a dark reality that had to be accepted.

The film seems to make a strong commentary on preparing oneself to enter a heavenly and civilized society. Cleanliness, marriage and intelligence are prerequisites. Adhering to these rules is to prevent disease, immoral behavior and stupidity from dominating. Perhaps this is a commentary on how America has learned from the failings of other nations and so was purposefully established to secure that these plagues did not infest and destruct. Though the rules seemed rigid, they were there to protect and help the people flourish.

''Sometimes you find your destiny on the road you took to avoid it.''

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 (Clive 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...

Jonas Skarssen: What do you want?
Louis Salinger: I want some fucking justice.