Epics Ancient and Modern

Beowulf - 3/5

The oldest tale in the English language, filmed using the most modern of techniques. Director Robert Zemeckis returns to the motion capture (mocap) technique he used in The Polar Express. For those of you not in the know, motion capture is the pricess where actors perform against a green screen and the performance is then animated on computer, adding costumes, props and background. The technology has clearly advanced since The Polar Express - the faces are alot more realistic and there's a lot more depth to the visuals. However, they still can't seem to get hands quite right and most importantly the performances come across as slightly muted. There is also an odd mental disjunct listening to a voice which is clearly Ray Winstone's (in the title role) whilst watching a body which, with no disrespect to Mr Winstone, clearly isn't.

That said its not all bad - its visually spectacular (especially in the 3-D version) and as you might expect from a story thats lasted over a thousand years, there's enough to keep the interest. There's also some added character depth and some interesting thoughts on temptation, falleness and owning your mistakes in the additions they make to the original story (even if, at times, the script takes a sledgehammer to a nut). It's the villains who probably come off best in terms of performance - Angelina Jolie as Grendel's mother and there's fun to be had in watching John Malkovich's weaselly character.

So, its worth a look, but not quite there yet.

American Gangster - 3.5/5

After indifferent reviews, I've got to say I was quite pleasantly surprised by this one. Part of the problem, I suspect, is looking at the talent involved - director Ridley Scott (Blade Runner, Alien, Gladiator), stars Russell Crowe and Denzel Washington - and a story that draws obvious parallels with both The Godfather and Heat, left many expecting an absolute classic. And this isn't. But its still a good film and keeps you interested and watching throughout its long running time.

Visually it lacks the panache of some of Scott's other films, coming off in a low-key manner more reminiscent of some of the film of the early seventies era in which its set like Serpico or The French Connection. It also lacks a major action set-piece like the shoot-out in Heat. The takedown, when it does come is far more low-key.

It tells the based on true-life story of Frank Lucas (Washington) who rose to be head of New York's largest drug group, importing direct from the far east in the coffins of dead servicemen being flown back from Vietnam. Against him is about the only straight cop on the force (Richie Roberts - played by Crowe). What we get is an interesting character portrait of contrasts - the honest cop but serial womaniser up against the drug lord but loyal family man. Crowe is as solid as you might expect, but this is Washington's show and he is superb - tapping the brutality of Training Day to some of the more human aspects of other roles to offer a fascinating character - and this is both the film's greatest strength and weakness. Scott is clearly too taken with his subject to have a clear moral stance and this leaves things slightly unbalanced - at times he strays perilously close to holding Lucas up as an idol for Black America in his rise from the streets. Where scenes of Lucas' brutality are shown, you almost feel the director is giving a reminder to himself as much as the audience.

As with Heat, the two principle characters (again two of the best actors in their generation) spend most of the movie not meeting, but when they do (again, over coffee) the scene just crackles with brilliance - its an acting masterclass as the power and control subtly keeps shifting. In a way, its a shame that the film doesn't have more of the aftermath, because one of the most remarkable aspects of this story is that Roberts and Lucas went on to become friends.

The other remarkable aspect of this film is it features Cuba Gooding Jr in his first decent role since winning an Oscar all those years ago - there's maybe a chink of light at the end of his career nightmare.

So, not quite the classic you were maybe expecting, but still an interesting and engaging film with a stunning turn from Washington.