Showing posts with label Hollywood movies. Show all posts
Showing posts with label Hollywood movies. Show all posts

Monday, August 11, 2008

Download The Scorpion King 2: Rise of a Warrior Hollywood movie Dvdrip and watch online working and apdated links

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Review of The Scorpion King


April 18, 2002 - When the assignment to review The Scorpion King came down the pike, I realized I needed to do a bit of homework. I'd never bothered to see The Mummy Returns, the Stephen Sommers-directed sequel to his 1999 surprise hit The Mummy. Not that I hated the previous film, but I wasn't enamored enough with it to care about the sequel. So I took a pass both in the theater and on video; however, as The Scorpion King came my way, I realized I needed to check out that previous film, since it introduced the WWF's The Rock as the mythical character.

My DVD viewing of The Mummy Returns was a surprise on two counts. One, I was amazed at the extent to which the sequel was pretty much exactly the same film as the original, only more so (as in bigger and more expensive). And secondly, and more important to this discussion of The Scorpion King, I was surprised that The Rock and his character had so little screen time in the flick. Based on what I'd heard – and the fact that Universal saw fit to spin him off into a prequel – I'd always been under the impression that he was a major player in The Mummy Returns.

There's no question, however, that – as the title might indicate – The Scorpion King is pretty much all The Rock. I'm not a WWF viewer, so even though I was aware of him, I really don't have any investment or feelings about The Rock, positive or negative (one certainly couldn't judge his abilities from his brief stint in The Mummy Returns). It was a pleasure, then, to see that The Rock lives up to his reputation and manages to carry The Scorpion King. He's not a great actor, but neither is Arnold Schwarzenegger – and, like Arnold, The Rock has the looks, charisma, and physical presence to be a solid action star.

The plot is pretty much Conan-like (and -lite, as this is a PG-13): Akkadian warrior Mathayus (The Rock) takes on the evil warlord Memnon (Steven Brand, who seems to have been cast as the bad guy solely because he has a British accent – he's certainly not any match for The Rock in physical stature). Mathayus is aided by a gorgeous sorceress (Kelly Hu) and a rival warrior (the always fun Michael Clarke Duncan of The Green Mile fame). Non-stop action ensues at a breakneck pace, all of it guided by veteran genre director Chuck Russell, whose past work ranges from the pretty good (Nightmare on Elm Street 3 and The Mask) to the absolutely godawful (Bless the Child); he's just perfect for this kind of movie and seems to be having as much fun behind the camera as the actors are having in front of it.

Needless to say, The Rock's fans will likely enjoy the film, and – judging by my own reaction – the WWF uninitiated should have a fine time as well. It's not even really necessary to have seen The Mummy Returns, although knowing that movie does add an extra level of foreboding to the otherwise cheery Scorpion King (since we know he will ultimately become a bad-guy 2000 years later). So, while it's nothing incredibly special, the film is good fun on its own terms, and worth a look, either in the theater (if you're just dying to see it) or on video in a few months.
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THE SCORPION KING 2 uncovers the origins of the 2002 summer blockbuster which starred Dwayne "The Rock" Johnson as Mathayus, the most fearsome desert warrior of the ancient world. Reaching deep into the past, this prequel begins with the king as a 13-year-old peasant boy (Michael Copon) who witnesses the kidnapping and death of his father at the hands of the terrifying Sargon (played by towering UFC Heavyweight Randy Couture). Thirsty for vengeance, young Mathayus trains at the Order of the Black Scorpion to sharpen his skills as a killing machine, then journeys to the underworld to retrieve the one sword that can help him defeat Sargon. When the burgeoning Scorpion King finally comes to blows with his murderous rival, the fate of the entire human race hangs in the balance.

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Thursday, August 7, 2008

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Wall-E
By Roger Ebert




Pixar’s “WALL•E” succeeds at being three things at once: an enthralling animated film, a visual wonderment and a decent science-fiction story. After “Kung Fu Panda,” I thought I had just about exhausted my emergency supply of childlike credulity, but here is a film, like “Finding Nemo,” that you can enjoy even if you’ve grown up. That it works largely without spoken dialogue is all the more astonishing; it can easily cross language barriers, which is all the better, considering that it tells a planetary story.

It is 700 years in the future. A city of skyscrapers rises up from the land. A closer view reveals that the skyscrapers are all constructed out of garbage, neatly compacted into squares or bales and piled on top of one another. In all the land, only one creature stirs. This is WALL•E, the last of the functioning solar-powered robots. He — the story leaves no doubt about gender — scoops up trash, shovels it into his belly, compresses it into a square and climbs on his tractor treads and heads up a winding road to the top of his latest skyscraper, to place it neatly on the pile.

It is lonely being WALL•E. But does WALL•E even know that? He comes home at night to a big storage area, where he has gathered a few treasures from his scavengings of the garbage and festooned them with Christmas lights. He wheels into his rest position, takes off his treads from his tired wheels and goes into sleep mode. Tomorrow is another day: One of thousands since the last humans left the Earth and settled into orbit aboard gigantic spaceships that resemble spas for the fat and lazy.

One day WALL•E’s age-old routine is shattered. Something new appears in his world, which otherwise has consisted only of old things left behind. This is, to our eye, a sleek spaceship. To WALL•E’s eyes, who knows? What with one thing and another, WALL•E is scooped up by the ship and returned to the orbiting spaceship Axiom, along with his most recent precious discovery: a tiny, perfect green plant, which he found growing in the rubble and transplanted to an old shoe.

Have you heard enough to be intrigued, or do you want more? Speaking voices are now heard for the first time in the movie, although all on his own, WALL•E has a vocabulary (or repertory?) of squeaks, rattles and electronic purrs, and a couple of pivoting eyes that make him look downright anthropomorphic. We meet a Hoverchair family, so known because aboard ship they get around in comfy chairs that hover over surfaces and whisk them about effortlessly. They’re all as fat as Susie’s aunt.

Seven hundred years in the future, a rusty trash-compacting droid appears to be the last ’bot on earth.

This is not entirely their fault, since generations in the low-gravity world aboard the Axiom have evolved humanity into a race whose members resemble those folks you see whizzing around Wal-Mart in their electric shopping carts.

There is now a plot involving WALL•E, the ship’s captain, several Hover people and the fate of the green living thing. And in a development that would have made Sir Arthur Clarke’s heart beat with joy, humanity returns home once again — or is that a spoiler?

The movie has a wonderful look. Like so many of the Pixar animated features, it finds a color palette that’s bright and cheerful, but not too pushy, and a tiny bit realistic at the same time. The drawing style is Comic Book Cool, as perfected in the funny comics more than in the superhero books: Everything has a stylistic twist to give it flair. And a lot of thought must have gone into the design of WALL•E, for whom I felt a curious affection. Consider this hunk of tin beside the Kung Fu Panda. The panda was all but special-ordered to be lovable, but on reflection, I think he was so fat, it wasn’t funny anymore. WALL•E, however, looks rusty and hard-working and plucky, and expresses his personality with body language and (mostly) with the binocular-like video cameras that serve as his eyes. The movie draws on a tradition going back to the earliest days of Walt Disney, who reduced human expressions to their broadest components and found ways to translate them to animals, birds, bees, flowers, trains and everything else.

What’s more, I don’t think I’ve quite captured the film’s enchanting storytelling. Directed and co-written by Andrew Stanton, who wrote and directed “Finding Nemo,” it involves ideas, not simply mindless scenarios involving characters karate-kicking each other into high-angle shots. It involves a little work on the part of the audience, and a little thought, and might be especially stimulating to younger viewers. This story told in a different style and with a realistic look could have been a great science-fiction film. For that matter, maybe it is.

Note: The movie is preceded by “Presto,” a new Pixar short about a disagreement over a carrot between a magician and his rabbit.

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Monday, August 4, 2008

Download And watch online The Mummy 3:tomb of the Dragon Emperor Dvdrip movie working links

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The Mummy 3: Tomb of the Dragon Emperor (2008) online movie download



Review: The Mummy: Tomb of the Dragon Emperor






I haven't seen the previous two movies in the Mummy series, although people have recommended them to me as rollicking old-fashioned action-adventure movies, from the same Saturday-afternoon-matinee roots as the Indiana Jones series -- not exactly brain teasers, but good silly fun. The good news is that if you too haven't seen the preceding movies, you can watch The Mummy: Tomb of the Dragon Emperor without fear of getting confused or lost or not understanding the recurring characters. The bad news is that regardless of whether you've watched the other films, the third Mummy entry is a headache-inducing mess that piles on unimpressive special effects to stretch a slight and often incomprehensible storyline.

The movie begins with an extended backstory: the history of the Dragon Emperor from thousands of years ago, in which a ruthless tyrant (Jet Li) bargained with an infamous witch (Michelle Yeoh) in his ambitious drive to seek immortality. The backstory, narrated in a manner befitting the History Channel, goes on for far longer than necessary. (Hellboy II did this so much better and faster, and with cool puppetry too.) It's a full 10 minutes before the story begins and we encounter the leads from the previous Mummy films, Rick O'Connell (Brendan Fraser) and his wife Evelyn (Maria Bello this go-round), who have retired from the action business and are trying to lead humdrum lives in the English countryside.

However, they're lured back into their Nick-and-Nora-wannabe roles to deliver an artifact to China, where their grown-up son Alex (Luke Ford) is secretly excavating an ancient emperor's tomb ... guess whose tomb that might be? Of course there's a curse, and a giant diamond, and Evelyn's brother Jonathan (John Hannah) from the previous two films just happens to be running an Egyptian-themed nightclub in Shanghai so he's pulled back into the action too. Next thing you know, the whole crowd is out to stop the ancient Emperor mummy (who is more like one of the cursed Pirates of the Caribbean characters than a traditionally embalmed mummy) from regaining all his powers of immortality and raising his invincible golden clay army that will take over the world.

The movie tries to entertain us with a series of daring escapades and breathtaking spectacles, but unfortunately these attempts fall far short of their aspirations. A long chase sequence across Shanghai during Chinese New Year is meant to be a breakneck adventure, but the camera careens so wildly and awkwardly that I lost track of the action -- wait, where did Rick go? What's that the emperor is throwing ... bits of his face? Later in the film, the CGI effects descend upon the storyline with a vengeance, and everything looks so similar and so fake that when a character exclaims "Shangri-La!" you want to murmur, "it's only a model." And let's not discuss the eyeroll-inducing CGI Yeti.

But the CGI isn't the weakest and most damaging part of The Mummy: Tomb of the Dragon Emperor -- that honor goes to the screenplay. The actors sell the dialogue as capably as they can, trying to emulate the snappy lines and easy wit of 1930s romantic comedies or at least classic action films. Unfortunately, the lines are so trite and dumb and unfunny that they elicit puzzlement rather than humor. Even Maria Bello's Emma Peel-like delivery can't save these lines. The film also relies on jokes that are just plain dumb, like a barfing yak. Other moments that might be funny with the right timing often fly by in the middle of one of the frenetic action sequences and we don't get time to register the gag, much less to laugh.

During the film's climactic fight scenes, as CGI tepidly battles CGI, one scene lights up the screen briefly. Jet Li and Michelle Yeoh's encounter involves no computer-generated creatures, and is shot not at hyperspeed but in slow motion. The exaggerated motions a la Crouching Tiger, Hidden Dragon seem positively organic in comparison to the rest of the film. It's a lovely moment ... and then we cut to more cliched one-liners and uninspired effects. I don't understand why you'd cast Jet Li in a role that wastes his great screen presence by covering him in bad special effects most of the time, when he's far more compelling in his own skin. In fact, I would love to see the entire cast in a better movie with a stronger script.

It's hard not to compare this movie to Hellboy II for more reasons than the similar prologues, which made me wish I could sneak over to an adjacent theater and watch the Guillermo del Toro film again. Both movies are about a villain who intends to unleash an invincible inhuman army upon the world. However, the elf-prince in Hellboy II at least seems to have an understandable reason. Both movies feature main characters trying to sort out relationship problems at the same time they're battling forces of evil. But the difference there is key -- the characters in Hellboy II had more emotional depth, and their relationships with each other and with humanity were what ultimately drove the film. In The Mummy: Tomb of the Dragon Emperor, the characters are glorified cardboard cutouts, and it's hard to care about why they're all bickering -- the action of the film doesn't reflect or tie into the emotional conflicts.

At the screening I attended for The Mummy: Tomb of the Dragon Emperor, one person in my row seemed to be enjoying himself thoroughly in the audience: a five-year-old who hadn't seen enough good action-adventure films to feel jaded by this tired retread. But if you're too old for kindergarten, you might want to skip this movie and catch Hellboy II instead. Or rent a good Jet Li film, or even revisit Raiders of the Lost Ark. I've been pleasantly surprised by a number of films this summer that were more fun than I might have expected, but this movie was an unfortunate letdown.


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Tuesday, July 29, 2008

Download Kill Switch (2008 Hollywood movie and watch online updated links

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Steve Seagal's latest:
A troubled detective travels to Memphis in order to track down a pair of serial killers.

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"A former spy (Neeson) relies on his old skills to save his estranged daughter (Grace), who has been forced into the slave trade."


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The X-Files: I Want to Believe (2008)Download Hollywood movie an review and watch online updated links

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The X-Files: I Want to Believe Downoad links and review

An unjustified, unnecessary and frankly uninteresting coda to one of the great sci-fi franchises of modern times, the new 'X-Files' movie doesn't rekindle interest in a once loved property so much as punctuate the fact it ran out of steam long before it expired.



Despite a disjointed and mythology-heavy storyline making it impenetrable for newcomers, the first "X-Files" film ten years ago was still a decent piece of work. Coming off five seasons of brilliantly produced and always entertaining television which cleverly mixed serial sci-fi pathos with stand alone monster stories, the film was cinematic, well-paced, and engaging in all the ways any fan could demand. Yet
it also proved a watershed moment as subsequent seasons of the show grew increasingly derivative, convoluted and tedious until it limped off the air six years ago with an unsatisfying finale.



Displaying many of the same problems that plague the most reviled of the odd-numbered "Star Trek" films (Insurrection or Final Frontier - take your pick), this second film plays like one of the weaker standalone episodes of the last few seasons stretched out to feature length. Cheaply shot, discernibly under-written, decently acted, unimaginatively directed, and ultimately pointless - it simply adds nothing to the franchise or characters in any way. When the most memorable moment of the film is a cheap George W. Bush joke, many fans will be shaking their fists with rage that even with six years and a lot of freedom on the filmmakers part - so little visible effort has been put into it.

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Former FBI agents Fox Mulder (David Duchovny), a believer in alien abductions, paranormal phenomena and government conspiracies, and Dana Scully (Gillian Anderson), a more pragmatic physician with forensic expertise, team up to find a missing FBI agent by following a trail laid out by a defrocked Catholic priest (Billy Connolly), who's a self-proclaimed psychic.

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Download B.T.K (2008) Hollywood movie and watch online and moviw review updated links

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nspired by the real-life serial Killer, B.T.K is the gruesome story of Dennis L. Rader, a murderer who systematically tortured and killed his victims for over two decades while evading the police for over 30 years. Living a seemingly normal life as a husband, father, security officer and church president, Raders unquenchable thirst for blood ultimately led him to commit the most horrific crimes imaginable. Shocking and full of suspense, B.T.K is a grisly journey into the nightmarish world of a deranged killer.

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Download Hollywood movie War of THe Worlds 2 The Next Wave Dvd rip movie and watch online working links

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DVD Review: War of the Worlds 2 “The Next Wave”

April 1st, 2008 bulin, dvd reviews, new release, science fiction & fantasy
wotw2_large.jpg

So it looks like The Asylum has come full circle with this release. War of the Worlds was the first in a successful directional change that started the infamous Mockbuster titles that Asylum is known for. Now with the release of War of the Worlds 2, they revisit this first offering.

The Next Wave takes place shortly after the first movie. The world is in the slow process of rebuilding and everyone is pretty much in survivalist mode. George (C Thomas Howell) lives with his son and is still vigilantly monitoring the airwaves in case the martians return. Apparently his paranoia is not unfounded because the machines have returned with a vengeance.
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I have to start off by saying kudos to Asylum’s effects department. This is the best CGI I have seen from them and a better effort than many of the larger studios. The alien walkers look exactly like they are pictured on the cover and the movement is fluid and realistic. C. Thomas Howell also sits in the Director’s chair on this one and does a pretty good job. The acting varies in this one, from decent performances from C. Thomas and the boy who plays his son to mediocre such as Kim Little as Victoria, who just was not quite convincing to downright bad, which would be Christopher “kid” Reid (or Ried if you read the front cover, Oops!). I will save you the trouble of looking it up….He is Kid from Kid ‘ Play…never would have recognized him in a million years!

The story itself is pretty straightforward and borrows liberally from other sci-fi movies such as Independence Day. In true Asylum fashion though, they point this out in large font on the back cover of the DVD. Overall I thought this one was ok but the weak storyline really was a disappointment. Asylum did such a better job with the first War of the Worlds that I guess I expected a bit more. It would hold up against many of the movies that Sci-Fi channel presents but I’m afraid as far as a re-watch-ability factor, I would have to say it is low. If you are a big Science Fiction buff, rent it or switch for it on the site but I would have to recommend against buying this one without checking it out first.

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Mission Istanbul is about a super TV journo who takes up a job with an Al Jazeera like sounding (Al Johara) news channel in Istanbul only to learn that the channel and its head are funding international terrorists including Abu Nazir, the worlds most dreaded terror monger. This journalist, Vikas, is going through a divorce but can’t get over his wife. Vikas learns of the nefarious doings of the news channel through a shady looking Turkish commando, Rizwan. When Owais, VIkas’ colleague, dies on the job Rizwan tells him that the channel bumps off anyone who wants to leave the job. Rizwan informs VIkas that the reason no one is allowed on the channel’s 13th floor because that is where the terror network operates from. So much so that this is where they make new Abu Nazir tapes and telecast them on their channel when in reality Rizwan killed Nazir in an attack. Things go through the usual motion and in the end Vikas and Rizwan kill everyone connected with Al Johara.



The film is so bad that one would never run of things to cry about. At a script level there is nothing gray in Apoorva Lakhia’s world, either you are good or you are bad. The treatment is so amateurish that your home videos would have more coherence. The script speaks volumes about the people behind it. No research is done and even a student film would try and infuse a little more authenticity in the proceedings. Picture this- a woman reveals her identity and says that she is, ‘RAW...Research and Analysis Wing, Indian Army’. Wow! Or for that matter when Vikas, now a wanted criminal, presents his case to the Indian Ambassador and she suggests that he turn himself in as he is in a foreign country. This conversation takes place inside the Indian Embassy and the guy is telling the Ambassador that the he possesses a data disc on the most wanted terrorist outfit in the world. For a country like Turkey which depends largely on tourism, the local police watches as a bunch of loony Indians run amok!






The director and the writer have failed to use Turkey as an element in the film. At a conceptual level I could have been convinced by Mission Istanbul but pray tell me why is everyone speaking in Hindi be it Srinagar, Kabul or Istanbul? The setting of the film in a place that is part Europe and part Asia, hence a confluence of two different worlds, linked by a common thread of terrorism could have be nicely explored. But then what the hell are we expecting from Apoorva Lakhia who has even lifted scenes from The Matrix! Someone please tell him that Matrix is six years old and the world has moved on!!!



As far as the execution is concerned for a better part of the film the shot taking is so stylized that it’s marriage with the horrendous background score ends up making this flick look like some bad video game. Things are bad in this film. Really bad. If I thought that Shootout At Lokhandwala was the pits then ladies and gents this is middle earth! How in the name of the lord you make a film about an international phenomenon called terrorism, set it in Turkey and have no Turkish actors!!!??? The chase sequences have jarring Indian sampled loops courtesy Amar Mohile. Someone present this freak a CD of The Constant Gardener. The OST has such a strong African flavor, where the film is based, and the music is by a Spaniard. Even the Indian embassy in Turkey has two Indians! What is the point of shooting Mission Istanbul in a style similar to Ek Ajnabi aka desi Man on Fire? The hyper-kinetic cutting and stylized shot taking is a royal pain and every location as well as character is treated the same way.



It is very clear from the film that the director has never set foot in a TV channel or seen how commandos work or how the intricate network of international terror works. There is not a single frame in the film that makes for interesting viewing. The acting is over the top and every one in the film tries to be cocky. Vivek Oberoi and Zayed Khan try to hard to be cool but you can’t blame them beyond a point. After all the writing doesn’t really give them an opportunity. Vikas can’t let go of his wife and even though he is divorced he keeps thinking about her. He witnesses his wife surviving a bomb blast on TV and is visibly shaken but strangely from that point onwards Vikas doesn’t bother getting in touch with wife. Even the wife doesn’t get around calling him but suddenly towards the end of the film Vikas calls her and lo and behold she is at the airport about to board a flight to Istanbul presumably to ‘save’ him! What can you say about a film in which a director, whose credentials include assisting Ang Lee and Woody Allen (which is a big thing in India), believes that loud music and snappy shots of the Blue Mosque would make a film work?
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Monday, July 28, 2008

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Lost Boys 2: The Tribe (2008)



The sequel is set in the shady surf city of Luna Bay, California, where vampires quickly dispatch anyone who crosses their path. Into this dark world arrive Chris Emerson and his younger sister, Nicole. Having just lost their parents in a car accident, the siblings move in with their eccentric Aunt Jillian and become new prey for the locals' way of life. When Nicole unwittingly falls for a local vampire, Chris must locate and destroy the gang's lifeline before his sister's transformation is complete; to do this Chris finds himself relying on the expertise of none other than Edgar Frog (Corey Feldman). Subtle references to characters from the original film, and cameos from returning actors offer homage to the Lost Boys legend and set a sinister tone of impending doom.


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Sunday, July 27, 2008

Death on Demand (2008) watch online And download Dvd rip working links

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Death on Demand (2008) watch online movie download



“Wealthy college student Richard Sachs arranges a web broadcast contest originating from a local haunted house. He entices three young couples to spend Halloween night in the abandoned dwelling by offering $5,000 in prize money. The last owner of the house was deranged killer Sean McIntyre, who murdered his entire family 20 years prior on Thanksgiving Day before hanging himself. McIntyre was an amateur mountain climber who used his grappling hook to gruesome effect during his murder spree; we learn that his descent into madness began when he killed what he believed was a Yeti on a trek up the Himalayas. “Richard has mini-video cameras situated throughout the McIntyre house to capture the happenings for his Internet broadcast,” O’Hara continues. “When subscriptions for the show lag, he hires a porn star to take the place of one of the contestants. The participants include two college football players, their girlfriends and a geeky student who is paired with the amorous Velvet Luv, the hired porn star. The two football players are destined to clash over a simmering feud concerning team spirit. The evening starts off with a group séance where the spirit of Sean McIntyre is contacted and, unbeknownst to the youths, brought back from the other side. As the kids split up and follow clues given them under the rules of the contest, they are systematically slaughtered by McIntyre. Eventually, the kids realize they are being stalked and the survivors must make a final stand in the attic.


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Friday, July 25, 2008

Download The Dark Knight (2008) Hollywood movie and watch online working links

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Review: "The Dark Knight"





Doing exactly what a sequel should do, "The Dark Knight" takes the already superbly crafted world created in 2005's "Batman Begins" and corrects its few flaws while expanding on both its potential and premise. The result is a decidedly darker, richer, more ambitious and more mature follow-up.



Great comic book films of late like "Iron Man" and "Spider-Man 2" may be more polished and crowd-pleasing, yet "Batman Begins" remains the most intriguing and influential effort of the superhero film genre to date. Artfully constructed, unflinchingly committed to its style, crisply shot, gorgeously designed and superbly acted - it's a film that works beautifully for what it is and remains just as strong after multiple viewings.



Yet
Katie Holmes' performance, awkwardly filmed action, stilted humor, and a distinct tonal shift can admittedly detract from director Chris Nolan's otherwise excellent creation. The same goes for the grand-sweeping location-heavy gritty human drama of the first half being awkwardly fused with increasingly sound stage-enclosed comic book villainy in the second. The flaws are very minor, most seemingly driven by commercial needs rather than a lack of artistic ability, but they are enough to not so much diffuse but certainly dilute the edge off the enjoyment for a decent sized portion of the audience.





"The Dark Knight" has no such schizophrenic mood swings. Right from the start the film establishes itself as a sprawling epic - a gritty crime saga the likes of which Michael Mann or Martin Scorsese would be proud to call their own - and keeps things consistently at that high level despite numerous dark twists and turns. Densely layered and with fully fleshed-out characters that not only embody intricate concepts but are often placed in legitimate peril, the film makes no apologies for being too brutal and elaborate for not just kids but many adults as well. Even without graphic on-screen blood-letting and a PG-13 rating, the film manages to portray menace and tension with far more power and effectiveness than many an R-rated horror film.



Chris and Jonah Nolan's remarkable screenplay both credibly and cleverly explores the power plays, moral ambiguities and inherent complexities of a city torn apart by fractured authority figures both righteous and criminal. Many will find a surprisingly deep statement about the state of the post-9/11 world in the film's display of a vulnerable and desperate populous tortured by its darkest impulses and facing the challenge of sticking to the moral high ground - even at enormous personal and emotional cost. Such a character and thematic driven narrative means that the general plot does become segmented and thin at times, but the pacing never falters and all the assorted threads are wrapped up in not just plausible but very satisfying ways.

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