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A slow-burning intensity sets this crime thriller apart from the crowd, directed by Belgian filmmaker Michael Roskam with a sharp focus on flawed characters who continually surprise each other. It's also a strikingly involving screenplay by Dennis Lehane, an author known for flashier thrillers like Mystic River and Shutter Island (this is his first film script, based on his short story Animal Rescue). All of this pays off with terrific performances from an excellent cast and situations that genuinely shake up the audience, even if it remains moody and subdued right to the end.

It's set in Brooklyn, where bars take turns acting as the mafia drop point for the day's takings. And after Cousin Marv's Bar is robbed on a non-drop day, Chechen gangster Chovka (Michael Aronov) is furious. Even though he has assumed ownership of the bar from Marv (James Gandolfini), Chovka orders him to get the $5,000 back, implying that Marv knows the thieves. So Marv turns to his mild-mannered barman Bob (Tom Hardy) for help. Bob knows how to keep his head down, and as he works on finding the cash, he discovers an abused puppy abandoned in a trash can outside the home of Nadia (Noomi Rapace), who helps him nurse the dog back to health. But the puppy - and Nadia - were both cast aside by the thuggish Eric (Matthias Schoenaerts), who doesn't want to let anything go.

Viewers expecting an action-packed crime thriller might be disappointed by the muted tone of this film, but it's the kind of story that worms its way under the skin, creating complex characters who are constantly revealing new details about themselves as the situation inexorably escalates around them. Hardy is simply superb, layering all kinds of emotions into Bob's actions as he struggles to maintain his composure while everyone around him does something inexplicable. As a result, the film's final act is a sequence of heart-stopping moments that make the most of the witty, nervy and darkly gritty scenes that went before.

Continue reading: The Drop Review

Here's yet another preposterous action movie that's made watchable by a skilful director and an engaging cast. While there are some intriguing themes in this spiralling odyssey of revenge, the script never really makes any sense out of the plot, merrily twisting and turning as it whizzes past a series of glaring improbabilities. But Colin Farrell and Noomi Rapace put their huge brown eyes to work, holding our sympathies as things get messier by the moment.

Farrell plays Victor, a gun-toting goon working for the slick mobster Alphonse (Howard), who is being taunted by a complex, unnerving plot to bring him down. But Victor is sidetracked by his neighbour Beatrice (Rapace), who comes on strong before revealing that she has seen his handiwork and will report him to the cops if he doesn't help her get revenge against the guy who scarred her face in a drunk-driving accident. This puts Victor in a difficult position since he's already engaged in his own plan to avenge the brutal deaths of his wife and daughter, assisted by a family friend (Abraham) from the old country.

And the plot gets increasingly knotty, as both Victor and Beatrice start to wonder if perhaps falling in love with each other might be a more pleasant way to get over their anger issues. Yes, the film is essentially preaching love and redemption even as the body count nears triple digits. Fortunately, director Oplev brings the same slick-steely style to the film as his original The Girl With the Dragon Tattoo. And the always watchable Farrell and Rapace get solid support from Howard and Abraham, as well as Cooper (as Victor's brother in arms), Huppert (as Beatrice's busy-body mum) and the underused Assante (as the big boss).

Continue reading: Dead Man Down Review

When archaeologists Shaw and Holloway (Rapace and Marshall-Green) figure out that ancient civilisations share a map to a specific star system, the Weyland CEO (Pearce) funds a two-year mission to get answers about the origin of humanity. Led by Weyland crony Vickers (Theron) and Captain Janek (Elba), Shaw and Holloway are accompanied by a helpful android (Fassbender) and a team of not-so-enthusiastic scientists. But what they find on this distant moon isn't what they expected, and the remnants of this civilisation aren't as dead as they seem.

Continue reading: Prometheus Review

Ritchie, Downey and Law are back with another manic romp that feels more like a Victorian James Bond adventure than anything about the famed Conan Doyle characters. While it has the same comical energy, it's not quite as fun as the first go-round.

Brilliant Cambridge professor Moriarty (Harris) is up to no good, taking on Holmes (Downey) by messing with those around him, including his girlfriend-nemesis Irene (McAdams) and his partner Watson (Law), who plans to retire after his upcoming wedding to Mary (Reilly). But nothing goes as planned, and Holmes and Watson are propelled into a vicious game of intrigue that sends them to Paris where they team up with a sexy gypsy (Rapace). They also get help from Holmes' brother Mycroft (Fry) as they head to a climactic showdown in Switzerland.

Who needs logic when the action is this wildly exhilarating? And much of it is drastically slowed-down so Ritchie can show us Holmes' powers of deduction as well as whizzing bullets, explosions and other cool-looking things. The dialog is the same mix of faux intelligent banter and shameless innuendo, which gives the actors something to play with, especially as Downey and Law amusingly move beyond bromance into Brokeback territory.

But we do need some logic. This plot is so messy that it never engages us. And as it builds to a climax in a crazy cliff-perched Alpine castle, we begin to lose interest. Even with the bigger action, zingy dialog and colourful characters, this film barely works up any steam. Whenever Holmes isn't being mischievous, Downey actually looks bored. And Rapace is so sidelined that it's difficult to understand why she's here at all; the filmmakers never give her anything interesting to do.

It's a shame the screenwriters never push the characters further. But at least Ritchie keeps things moving briskly, filling the screen with comical nuttiness and big-gun mayhem. Even if Moriarty makes no sense (would someone this intelligent resort to such a ridiculous plan to make his fortune?), Harris adds heft in the role, including some jagged chemistry with Downey. Let's just hope that the requisite third film lets us in on the joke.