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Men In Black 3

It’s not a sequel that needed to be made, but thanks to the charm of its leads and a tone that harks back to the wit and humour of the original, it’s a pretty enjoyable trip.

Bel Ami

The excellent female support cast saves this patchy effort, which is let down by its leading man and a flat screenplay.

The Dictator

A disappointing, often repulsive and mean-spirited mess of a film with seemingly only one real criterion on its agenda: to shock and offend.

The Woman In Black

Packed with atmosphere, this old-fashioned but deftly told ghost story delivers ample chills and thrills.

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Battle: Los Angeles (Film)

by Katerina Sakkas | March 16, 2011 14:52 | Edited March 16, 2011 14:55

While there’s no subtlety here, this remains surprisingly gripping throughout and boasts three-dimensional characters and well executed action scenes.

Here's the film that those disappointed by last year's Monsters were expecting to see. Unlike that more nuanced meditation on alien invasion, Battle: Los Angeles lands us at the beginning of a full-blown attack by unequivocally hostile extraterrestrials, who give us no other option but to bomb the bejesus out of them before they obliterate us. As L.A. burns, the Second Battalion Fifth Marines (the 2/5), led by Second Lieutenant William Martinez (Ramon Rodriguez) is sent into enemy territory to rescue a small band of survivors. They might have their individual hang-ups, but the boys of the 2/5 are never less than heroic when it comes to defending their country (or world, in this case). It's an understatement to say that this is a film rather lacking in grey areas.

 

All of which isn't to imply Battle: L.A. is bad; it isn't by any measure. It boasts an interesting, talented cast, including Aaron Eckhart in the lead role of Staff Sergeant Nanz; Jim Parrack, the chap with the annoying mother on True Blood; R&B smoothie Ne-Yo; and tough gal specialist Michelle Rodriguez (Resident Evil, Avatar, Machete). All the actors bring a three-dimensionality to their characters that goes a considerable way to making this the gripping scenario that it is. The dialogue, in between explosions, is clever and credible. The visual effects are impressive, as might be expected: the handheld camerawork suggests urgency without inducing nausea; and the sound is an imposing mix of gunfire, explosions and snatches of stirring music. The tragedy and peril of war are also shown, but this is overwhelmingly a celebration of loyalty, heroism and patriotism.

 

Battle: Los Angeles is a fine example of its genre, but doesn't distinguish itself enough narratively to transcend that genre altogether.