Emily Browning

Written and directed with a rakish swagger, and featuring two full-on performances from Tom Hardy, this true London gangster drama is hugely entertaining, even if it feels undercooked. Aside from that generic title, the film basically has no plot at all, and it strips real-life people of their complexity. It's as if the filmmakers were afraid to challenge the audience in any way. But the edgy mix of comedy and violence is riveting.

The events recounted took place over about two years in the early 1960s, although the film's anecdotal structure makes it feel more like a decade. As it begins, the fearsome young Kray brothers (both played by Tom Hardy) are consolidating their gangland grip on East London and expanding around the city, with their next target being South London boss Charlie Richardson (Paul Bettany). Reggie Kray is the tough-minded businessman, while identical twin Ronnie is a terrifying thug who happens to be openly gay at a time when being so was illegal. As they blatantly manipulate the rule of law, a Scotland Yard inspector (Christopher Ecclestone) is desperately looking for a way to take them down. Meanwhile, Reggie is romancing the 16-year-old Frances (Emily Browning), much to the annoyance of her imperious mother (Tara Fitzgerald).

The tumultuous relationship between Reggie and Frances is the only thing that adds a sense of narrative momentum to the film. Otherwise, it's a series of set-pieces that take a darkly humorous approach to family clashes and criminal violence. Writer-director Brian Helgeland infuses even the grisliest brutality with an amusing smirk, which makes the movie much more engaging than expected. And Hardy storms through the film with real charisma in both roles, as the steely, magnetic Reggie and the more unstable, fearsome Ronnie. Both performances are scene-stealing, nicely conveying how these men managed to hold the entire city in their grip, even though they were only in their early 30s at the time.

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With bouncy pop tunes and a breezy tone, this Scottish musical sometimes feels so weightless that it seems to float right out of existence. At other times it's startlingly dark and moving, touching on earthy emotions and important themes. The tonal shifts may be rather jarring, but the film as a whole is a joy to watch, especially as it makes some pointed comments on both mental illness and nature of artistic creation.

Set in Glasgow, the story centres on Eve (Emily Browning), who is so obsessed with composing music that she's being treated in a mental hospital. After she escapes she meets James (Olly Alexander), a young singer-guitarist who is a bit unnerved when she follows him home, worms her way into his life and spurs him to start a band with music student Cassie (Hannah Murray). James falls for Eve, but she's clearly only interested in being friends, especially since she has a crush on cool bad-boy Anton (Pierre Boulanger), the lead singer of a rival band. And even Cassie seems out of reach, since she flirts with every man she meets. But neither James nor Cassie knows the truth about Eve's mental state.

Writer-director Stuart Murdoch is the lead singer of the Glasgow band Belle and Sebastian, and the film is peppered with songs written for their album but sung live on-camera by the cast members. As a filmmaker, Murdoch has a remarkably light touch, as well as a gift for weaving the music right into the fabric of the movie. This is certainly not the usual rom-com: the characters have unsuspected depth that's beautifully tapped by the sharp young cast members. The bravely immersive Browning and charming Alexander are a terrific double-act, with very different musical styles that gel together cleverly - think Ellie Goulding and Ed Sheeran. And the addition of Murray's lively Cassie to the equation adds a superb dynamic.

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Like an ancient Roman version of 2012, this disaster epic is a pure guilty pleasure, sparking plenty of laughter along with the massive effects-based carnage. It also helps that the screen is packed with muscle men in skimpy skirts. The actors dive in with gusto, adding plenty of personality to the ridiculous dialogue, while director Paul W.S. Anderson shamelessly ramps up the action mayhem.

It begins in AD 79 Britain, where Roman Senator Corvus (Kiefer Sutherland) is on the rampage, slaughtering the entire Celtic community of young Milo (Kit Harington), who is taken to Londinium to become a gladiator. When he rises to fame, he's transferred to Pompeii, where he immediately catches the eye of young noblewoman Cassia (Emily Browning), much to the scowly disapproval of her politically active parents (Carrie-Anne Moss and Jared Harris). An outsider among the local slaves, Milo is befriended by tough guy fellow gladiator Atticus (Adewale Akinnuoye-Agbaje). And when Corvus comes to town to claim Cassia as his bride, Milo decides to take a dangerous stand for both revenge and the girl. Meanwhile, Mount Vesuvius is rumbling, getting ready to unleash plenty of movie-style havoc.

It's impossible to watch this without thinking of the cheesy, similarly styled TV series Rome or Spartacus, with their corny melodramas, excessive violence and bare flesh. Even though this is on a much bigger scale with seriously enormous 3D special effects, it's just as cheesy. And equally entertaining as well. Harington is terrific as the hunky hero, building much stronger chemistry with the honourable Akinnuoye-Agbaje than the distressed Browning. And seasoned veterans like Harris, Moss and Sutherland clearly have a great time chomping madly on the scenery as Pompeii burns.

Continue reading: Pompeii Review