Actions speak louder than words is the tagline for Duncan Jones’ latest Sci Fi offering and ten minutes into the film and you can see why. Mute follows the story of Leo, an Amish man living in a near future, dystopian Berlin. Due to an accident when he was a child, Leo is unable to speak and so communicates through gestures, writing and drawings. Despite their being a handful of films, which centre on a moody, quiet protagonist exacting revenge, nothing has come along recently that has created an impact since 'Drive'. That is until now. Alexander Skarsgard gives a very impressive performance as Leo.  Like Gosling, Skarsgard manages to simultaneously appear vulnerable and sensitive, while at the same time being intense and intimidating. He balances these two traits perfectly, utilising each one at the right moment for the desired effect. His icy blue eyes can be cold and piercing one moment, then fragile and watery the next. In some ways the decision to have him mute adds more impact then 'Drive', as his silence makes all of his enemies nervous and awkward. The other aspect to his character is his Amish upbringing and belief. Although he isn’t as strict as most Amish followers, the lingering effect of his family’s influence is highlighted throughout. His traditional attitude and innocence is in stark contrast to the futuristic city that surrounds him. The image of this reserved and respectful man working behind a bar in a techno strip club is striking and adds to the already interesting visual style that is at play here. Religion is a theme that is explored from the start of the film and continues to be an important factor as the story unfolds. His muteness although not caused by his Amish lifestyle is affected by it, when his parents refuse treatment, leaving it in the hands of god. Then later, at various points in the film, Leo struggles to overcome difficulties, either due to his lack of voice or his inability to use technology. His choice to fall in love with a stripper, actually use a phone and drive a car is all fuelled by his repressed anger at religion. Leo is a character, who from the start always seems to be out of control of situations or worse prevented by others from doing what he wants. So, when he does finally snap, like Michael Douglas in 'Falling Down', in is truly satisfying to watch. Leo isn’t the only striking aspect of this film. The world itself is so vibrant and prominent it is almost a character itself. What I like about the film, is that even though there are flying cars and robots, there are still elements that are familiar with the current world. Like 'Blade Runner' it has a retro feel to it, opting for Tokyo style holographic billboards emblazoning the various buildings and speeding hover taxis, with 80s style lift up doors and bulky bumpers and hoods. These elements would hurl it further away into dystopia, if it wasn’t for the secondary characters that inhabit the world. Actors such as Noel Clarke and Dominic Monaghan give it cultural relevance with their down to earth and recognisable personalities. Even Paul Rudd, who brings something very different to his role, still has that zany, offbeat humour that grounds the film. The city itself is a great visual representation of the story’s tone. Near the start of the film, the bright lights, hypnotic music and colourful characters give it a glitzy allure. However, as the story unfolds, the city becomes colder, harsher and unsettling. There is a real sense of atmosphere to the piece and part of that is influenced by the strange and surreal world that Jones has created. It is hard to talk about one nemesis, as Leo seems to be surrounded by antagonists and it seems that he is constantly fighting to overcome evil. Paul Rudd is technically a bad guy in this outing, and although he doesn’t seem inherently evil, there is a definite dark presence lingering inside him. Rudd gives a notable performance, lulling viewers in with his aptitude for comedic timing and execution. However, it soon becomes apparent that there is a nasty, violent side to his personality. The fact that he has a young daughter makes for an even more conflicted viewing. The decision to explain his behaviour as being linked to him being a deserter from the armed forces is incorporated very well, despite it being a tad cliché. At the end of the day though, PTSD is a serious matter and it is both brave and commendable that Jones decided to tackle it. One scene sees a drunk Rudd flying off the handle at a security guard, after he is caught stealing peanuts. The inner demons spill out in this confrontation and it is written and performed fantastically. There are a few issues I had with the film. For one, despite the acting, world, style and concepts being incredibly strong, I did feel the choice to have the age-old story of a man falling in love with a stripper, who mysteriously disappears a tad cliche. There are a lot of films that feel the need to throw in mangst as the driving force behind the story. In this instance I can forgive it, as the characters, setting and style are so unique that it just about gets away with it. Although the romance element is a tad generic, the little nuances such as Leo’s secret project and the way they communicate with one another, keep it fresh and stop it from stagnating. It is always important to note that Leo’s love interest Naadirah is the only person bar one, he doesn’t have issues communicating with. After she disappears, Leo finds himself constantly struggling to understand other people or them not able to understand him. It serves as a good plot device, adding to the other conflicts he is already faced with at every turn. It is also saved by the fact that it suddenly turns from a film about love and loss to something a lot darker. There are technically two twists to this film. The first I suspected but the second was a surprise. Both these twists explore the darker and more sinister aspects of humans. Everyone has a limit to what they can deal with. For example, I do not get disturbed by murder as much as I probably should. Rape on the other hand, I find extremely disturbing. For those that are worried about this, there is no rape in the film. It has always been my opinion that there is no need for this in films. I can just about handle it being insinuated but there is no need to show it. Although this film doesn’t deal with that, it does deal with another very sensitive subject. So much so, that at points I was unsure whether I could carry on watching it. Although very well done, it is highly unsettling. Having watched the whole film, I would say that Jones did well. He did not go too far. More is implied than anything else and although stomach churning, the eventual outcome did have me sighing in relief, that the light overcame the dark. As well as Leo being an interesting protagonist due to his muteness and Amish upbringing, there are other traits that make him appealing. His relationship with water. His accident occurs in water at the start of the film and the concluding events of the story end in water. Throughout, he reveals that he has a curious ability to hold his breath for a very long time, as we witness him swim an entire length of a pool and down a whole glass of water. But this is not just a kooky quirk. By the end of the film, it becomes incredibly relevant and crucial that he has an ability to do this. The other aspect of his personality is his love of drawing, crafting and building. Underneath this insecure and unsure exterior, is a soul bursting with a confident voice, demonstrated through his art. Again, like with the water, it is actually crucial to the unfolding of the story and later becomes highly crucial in the eventual outcome. The small images and clues that are littered throughout are highly symbolic to the story and the world and Jones’ attention to detail is astounding. Mute is one of the most unusual and fascinating films of the year. It excels in its hybridity, presenting relevant and relatable themes in a futuristic world inhabited by weird and wonderful characters. The fact that Leo is mute, only reinforces the fact that everyone else around him who can talk, are less interesting and more dislikeable then he is. What almost is a love story, fuelled by mangst becomes something much more poignant and although the darker themes it explores are unflinching in their examination, they are explored in a tasteful and well-conceived way. The rhythm and pace are executed perfectly with slow building tension punctuated by hard hitting moments of impact. The characters are engaging, the word rich and vibrant and the narrative twists and turns at any available moment, making for an exhilarating nail biting watch. If you’re in the mood for something raw, exciting and which leaves a marked impression, then Mute is definitely worth your time.

‘Batman’ has undergone a number of different approaches throughout the years, in terms of comics and films. With cinema there is a large collection of styles, ranging from the camp and comedic Adam West classics, to the slick and smooth Nolan Trilogy. Well, it might have been re-imagined this time round in one of the most surprising but effective culmination of styles. On the surface it may seem a bit odd. A crime fighting fictional vigilante in a bat suit alongside a real life Victorian Ripper. But in a lot of ways, they are a perfect match. They both operate in the shadows, they both wear masks and they both exist in poverty stricken cities, where crime and evil run riot in the streets. There is also the detective element. Many focus on the physical prowess of the caped crusader but we must not forget his aptitude as a crime solver. With Gordon, Bullock, Harvey Dent and Batman himself trying to put the pieces of the Ripper puzzle together, it stops it from becoming too solely ‘Batman’ orientated. Although one of the Warner Bros Animated films, it is not suitable for kids. As I mentioned before, there are many reincarnations of ‘Batman’. Some kid friendly, others more adult. This is the latter of the two. It couldn’t really not be, when it’s main focus is ‘Jack The Ripper’. The broody, dark and atmospheric setting of Gotham seems even more poignant with the influence of Victorian culture. The swirling fog, dark alleyways and imposing architecture merge well with the themes of ‘Batman’ and the city of Gotham itself. One of the reoccurring themes in the ‘Batman’ universe is that of orphans. Bruce Wayne is the obvious one. But there is also Dick Grayson, Selina Kyle and Poison Ivy. That fits in perfectly to the Victorian setting, as street urchins and orphans were a common occurrence. Work Houses and orphanages were standard practice. This is but another example of how these two worlds blend together adequately. The script has been tweaked with a Victorian flair, which is a delight. Especially when you have a fancified version of Jim Gordon telling his wife he will be with her directly. Costume design has been altered slightly. In particular Selina Kyle pulls off a dress and corset combination, made all the better by her accompanying whip. Batman’s suit is not too altered but it has a more steampunk feel to it with its gold buttons, formal shirt and more traditional mask. There are a few other character tweaks. Harvey Dent for example has a curly moustache and comb over hair. His character also mirrors Dr Jekyll and Mr Hyde, another Victorian classic. Poison Ivy is an exotic dancer, tying in more with the ‘Jack The Ripper’ angle. Dick, Jason and Tim, the three Robins are depicted as ‘Twist’ inspired pick pockets. These reinventions of the characters are ingenious, as it serves to cement the two styles. The inciting incidents when occurring are both exhilarating and unique. Most of them involve Batman squaring up against Jack The Ripper. They are you’re standard fisticuffs and roundhouses but the backdrop is what sets them apart. One of the confrontation occurs in a slaughter house, an ideal selection for obvious reasons. Another is a chase scene across the roofs of Gotham. Just the image of The Ripper’s shadowy outline being pursued by The Batman’s even more defined black outline, sent goose bumps down my spine. There is also a zeppelin, a signature of Victorian steampunk and a fairground, more familiar with the ‘Batman’ canon. This attention to detail reinforces the themes and style of the film, giving viewers a visual narrative of its own. In most adaptions of ‘Batman’, there is a large emphasis on bat gadgets and tech. One might think this poses a problem this time round, as it is more Victorian inspired. Luckily, the creative team have found a way around that. For example Batman is famous for having a bat cave, always located underneath Wayne Manor. This time round his hideout is in the attic, or as my fiance cleverly pointed out ‘the battic’. Although this is a break in tradition, I found the whole concept refreshing. It also fits in more with the period, as many Victorian London houses were built with attics. He doesn’t have a bat-mobile for obvious reasons but he does have a crazy steampunk bat bike with various pistons, motors and cogs. Also, there is more of a challenge for Batman in the Victorian inspired setting, as finger prints aren’t considered legitimate evidence. This forces Batman to find other ways to solve his mystery. ‘Batman Gotham By Gaslight’ is a gamble. It takes two beloved and very distinct worlds and brings them together. It is a tall task, trying to introduce The Ripper into the ‘Batman’ universe with all its history and style, whilst still remaining at its core distinctively dark knight. Fortunately it pays off, delivering an end result that provides something fresh and new but at the same time familiar. It is a reinvention of ‘Batman’ as we know it but then reinvention is what ‘Batman’ is all about. There are so many versions and takes both in comics and film, that it gets away with it. Visually it is stunning with the cities’ dark alleyways, high rooftops and abandoned buildings. Facets that are present in both Gotham and Victorian London. In fact there are so many similarities between the two, that after a while you forgot that it is even different. You accept it as commonplace that the world created is the genuine article because it is convincing. The characters are still the same at there core but they are tweaked to give them a Victorian flair. Being focused on ‘Jack The Ripper’ and his murders, this version of ‘Batman’ is largely focused on his skills as a detective. I found this refreshing, as a lot of the recent ‘Batman’ films have been more focused on the fighting and gadget side. The twist of the piece took me by surprise. I am normally able to predict the shock reveal but they did a good job of misleading the viewer on this one. If you are a fan of ‘Batman’ or a fan of Victorian steampunk and The Ripper you’re in luck. And if like me you are obsessed with both, then it is a dream come true.

Lord of the Bad Boys When ‘Bright’ first appeared on my ‘Netflix screen’, when browsing through the various other titles, I hesitated for some time over the play button. The premise interested me, as well as the choice of acting talent and from the trailer, it looked very different and stylish. Having seen ‘Fury’ and thought it a very impressive war film, I was drawn in by this title but at the same time, I had some reservations. Mainly being, that despite David Ayer having directed a handful of good films, he was also the man responsible for ‘Suicide Squad’. Being a big fan of ‘DC Comics’ and ‘Batman’ in particular, I was disappointed in a number of things in ‘Suicide Squad’, as were many others. The main concerns were costume design and casting, as they were the two biggest failings of ‘Suicide Squad’ in my opinion. Will Smith is a very capable actor and given some truly impressive performances over the years but there is always the concern that he will be thrown into a role where he is type cast i.e. playing the same character as in ‘Bad Boys’ and ‘Men in Black’.  So, going into the film, my expectations weren’t particularly high, and I have to say, having watched the flick in it’s entirety, I was actually quite impressed. Initially, after watching the trailer and seeing images and posters, I was a little sceptical of the costume design. On closer inspection however, I must admit that they have upped their game. The orcs have been designed through a mixture of prosthetics and a clever implement of CGI. There is a still a slightly low budget look to the skin and makeup design but it gets away with it because it isn’t too over the top. A few of the minor character’s tattoos did annoy me, as in ‘Suicide Squad’ but I was able to overlook it, as there were enough other strong elements of the film to carry it. Will Smith’s character Ward is well done. On the surface and particularly at the start of the film, he does feel like a generic smart-arse cop but as the film develops and we learn more about his character, we begin to understand that it is all just an act.  Will Smith gives a very strong performance, but it is Joel Edgerton that really stands out in this film. Both his character and personality of Jakoby are created and executed masterfully. His awkward, clumsy and slightly naive attitude makes him a relatable character, even though he is an orc. In fact, in a lot of ways he is more human then Ward. I feel this is kind of what the writer and director are hinting at in a way. From Ward’s brutal take down of a pest fairy at the beginning, to the corrupt and prejudice human cops that racially abuse Jakoby, the film very much aims to highlight the human nature of the orcs. There is also another reason why Jakoby is such an engaging character. Being a rookie cop, he has pressure to perform up against other more experience and hardened police officers. Combine this with being the only orc in a fully human precinct and it sets the scene for a perfect character development and the struggles that come with it.  The way the two interact with one another is nicely done. It has that classic style of veteran cop forced to team up with newbie officer and much of their relationship reminded me of such classics as ‘Training Day’ and ‘Dirty Harry’. Ward has the unfazed and weary behaviour of a tenured cop but when push comes to the shove, demonstrates his competence as a cop. Jakoby on the other hand is eager, optimistic but significantly wet behind the ears. This team up, whilst a cliché in many respects allows for a great dynamic between the pair and some truly hilarious examples of dialogue exchange. It also gives the film that sense of realism. Amid all the fantasy of orcs, fairies and elves, you have that relatable cop partner scenario, which is instantly recognisable to anyone who is a fan of crime.  This leads on to the matter of the world itself. Unlike most films with a fictional world, ‘Bright’ doesn’t mess about with a detailed explanation of how humans, orcs and elves coexist. Instead, it drops viewers right into the middle of the story. The world is already established, and the characters have already been living their lives. This is not to say there isn’t any explanation. The world itself and the creatures that inhabit it are introduced in three ways: through visual cues, in dialogue and finally in situations or confrontations. Some may find this a little bit too immediate but I think it is a very effective and unique way of establishing the world. It also makes it feel more authentic. Shots of graffiti covered walls with references to orc lore and the transition from rough, impoverished orc neighbourhoods to rich, audacious elven territory, illustrate clearly both the political and economical state of the world, without the need for a black screen with paragraphs of writing, spelling it out for the viewer.  Making a gritty cop film or an epic fantasy flick is a hard task by itself. You want aspects to be familiar, as both genres have their own tropes and trademarks but at the same time, you want to bring something fresh and exciting to the table. Imagine how much more difficult that is, when trying to do that in a film that is both crime and fantasy combined. In a way, the use of orcs and elves in a modern day society with cops and gangs, is different in itself but it still needs to demonstrate an ability to do both those things competently. Personally, I think it works. It has a gritty, urban element that will appeal to fans of crime. There are corrupt cops, dangerous gangs and intense shoot outs. As well as this it has orcs and elves squaring off against each other, a prophecy, a magic wand and a dark lord. These aspects will appeal more to fans of fantasy. By combining these elements, Ayer and the writing talent Max Landis have produced something familiar but unique. At first the two concepts seem like they should not marry up but over time, as the characters and narrative develop and the world becomes more established, they slowly begin to coalesce.  ‘Bright’ is a big budget film. In fact with a 90 million dollar budget, it is the most expensive ‘Netflix’ produced film to date. The cinematography, choreography and special effects are very impressive. So much so, that I would have happily paid money to see it in the cinema. At the same though, there is something about the film that feels slightly less polished and glitzy as your standard Hollywood film. The camerawork is one example. Although, the cinematography is very pretty, there are a lot of close, over the shoulder shots, giving the shoot outs in particular, a more realistic and intense feel to them. Ayer incorporated this style in ‘End of Watch’. This style of camera work is more commonly seen in documentaries and by implementing it into a film, you can add a greater sense of realism and prevent it from looking too squeaky clean and smooth. Also, ‘Netflix’ have a reputation for producing films that look and feel different to Hollywood flicks. Mostly this is due to budget constraints but partly because of the way the film is filmed and edited. The choice to make the film through ‘Netflix’ has definitely paid off, as it still packs all the punches of a big Hollywood film but without all the glitzy and sparkly shine that is usually part and parcel.  The film is a nice length. It doesn’t feel like it is dragging. There is a good momentum and pace. Ward and Jakoby are thrown from one perilous situation to the next and there is definitely enough tension and excitement to give that much needed adrenaline hit. At the same time, they spend enough time at the beginning building up the characters and the world, so we feel invested with the protagonists, whilst feeling like the world created is genuine and well established. This accomplished, when the shit hits the pan, Ayer can make it climatic and impacting, making for an exciting watch. There are brief pauses in the chases and shoot outs, where Ward and Jakoby force each other to reveal what each other has been hiding. This technique allows our investment with the characters to grow but because it is only short sequences, it doesn’t feel drawn out or outwardly used as a plot device.  The only thing that was a little weak for me were some of the fantasy elements. The race divisions and class confrontations worked beautifully, as with most fantasy storytelling it highlights issues that are clearly apparent in real life. However, the idea of their being chosen ones, a magic wand and a dark lord seemed like a mishmash of ideas, borrowing off titans such as ‘Lord of The Rings’, ’Harry Potter’ and even ‘The Matrix’. Also, the twist of the film was readily apparent about a third of the way into the film and as such wasn’t as much of a revelation, as perhaps it could of have been.  ‘Bright’ is a deceiving film that offers a lot more to audiences that it outwardly appears. With the flop that was ‘Suicide Squad’ on the director’s resume, it is easy to see why many would be hesitant, including myself. Also, with the inclusion of Will Smith, an actor who is prone to being typecast and some slightly dodgy costume design, on first glance it may come across as unoriginal and a little naff. However, Smith’s character Ward is a much more well rounded character then he first appears and the makeup and the design of the orcs, is far more effective and polished then Ayer’s previous attempt. Once you are able to realize this, the film instantly becomes more appealing. The blending of genres was a risky gambit but pays off, as it takes two strong styles of film and merges them together to produce something which has all the traits we love in fantasy and crime but in combining the two, produces something unholy new. The characters, their personalities and the struggles they face, in a world infested with racial hate and prejudice makes it more then just another action flick and the world Ayer and the writer Max Landis have brought together is both relatable and weird enough to be fascinating. The story and narrative has a good drive to it, despite it being a little weak with some of the fantasy elements. These aspects can be ultimately overlooked, as the characters, acting, world, dialogue, cinematography and editing are strong enough to keep the viewer’s interest sustained throughout. It is only fairy enough, that Ayer gets a pat on back for a job well done.

When I was younger I used to be a huge fan of Jackie Chan, from his cult classic 'Police Story' series of films to his entertaining action comedy capers 'Shanghai Noon' and 'Shanghai Knights'. As a young boy I always had a fascination with martial arts and Chan was among others such as Bruce Lee and Jet Li of my on screen idols. When I hit my mid teens, I dropped out of my Ta-Kwan-Do lessons and decided to focus on a new passion, writing. I still enjoyed watching martial art flicks but wasn't as obsessed with them as previously. As I got older, I became more interested in the film genres of crime and drama. So it was a surprise and a delight one evening, when I happened upon a Film4 Thriller/Drama called 'Shinjuku Incident', starring none other then Jackie Chan. Although Jackie has done a handful of more serious films, he is most well known for his jaw dropping stunts, hectic and masterfully choreographed fight scenes and comic, light hearted style of acting. This film however made me reconsider my opinion of the actor, as I found both the story of the piece and Chan's acting engaging and impressive. Although there is a small amount of fighting and martial arts, the film is more about Jackie Chan's character and the physical and emotional toll he suffers, throughout the course of the narrative. So, you can imagine my excitement, when I first heard news that Chan was bringing out another film with him in a serious role. Having watched the Netflix film, I can gladly confirm that this is one of Chan's best performances. He brings a lot to the role and his gravitas in his performance is consistent throughout. In a nutshell, The Foreigner focuses on Quan (played by Chan), who after the fatal death of his daughter in a London bomb attack, seeks vengeance and goes in search of the people responsible. At first glance, it would seem like your typical revenge flick, following in the same vein as such payback classics as 'Commando' and 'Taken'. What sets it apart though, is the political backdrop it is set against. The bombing is by a rogue IRA group and with it's detonation, both England and Northern Ireland are plunged into political chaos with the threat of a British Civil War from it's backlash. The character of Hennessy, played aptly by Pierce Brosnan adds another layer to the film and his relationship with the prime minister of England and his former IRA associates, prevents this from becoming just another box standard revenge fesh. Despite their being that added layer of depth with the political angle, I did spend the first fifteen minutes of the film, contemplating that the death of the daughter and the father's decision for revenge, could be seen as glorification. At the end of the day, parents lose their children all the time but in reality, they wouldn't turn into Rambo and simply go on a killing spree. Life doesn't work like that and in a way to highlight that in film can be seen as a bit insensitive to anyone, who has actually experienced this sort of thing in real life. If there had been one scene where he was mourning the death of his daughter and then suddenly on the hunt for the killers, I would have very much felt it was glorification. In terms of story and Quan's character though, it is a little bit more thought out then that. Whilst he does eventually go rogue and take matters into his own hands, there is a decent amount of time where we see Chan mourning for the loss of his daughter. During this period of grievance, his action in regards to the people responsible, is more realistic to what someone would do. He visits the Metropolitan police every day, pleading with them to find the people responsible. When that fails, he appeals to Hennessy, again very politely and humbly asking for him to help. It is only when these avenues of aid fail to help resolve the matter, that he decides to take matters into his own hands. Although, this can be seen in some senses of glorification, the way Quan's character is written and the way Jackie performs it, plus the later revelations of his past and backstory, makes it less insensitive. Quan, although out for revenge feels like a real person, not just a trained fighter with his finger on the trigger. Martin Campbell has always been a director who has struck me as possessing that ability to deliver slick, smooth and stylish action, whilst at the same time having main characters that have much more going on, then their prowess at beating the crap out of anyone. He also has a good track record for implementing the ripple effect fictional events have on the political landscape of that world. 'Casino Royale' has all the classic traits of a bond film. Fast car chases, epic fight scenes, corny one liners but it was the first bond film, where I felt they tried to explore Bond's emotions. Yes, he is a cold blooded killer but he also has compassion and a sensitive side. Campbell has done the same here. Quan is a trained killer, taking down his enemies one by one but he is also a grieving father trying to deal with a tragic loss. One of the things I very much liked about this film was how clever Quan is, in terms of his tactical planning and execution. They could have avoided all of that and relied on Jackie's mastery of martial arts. To have scene after scene of him working his way through room after of room of brutes, to get to his objective. Instead, Quan's character is more methodical in his approach. He sets traps, plants false trails and makes sure he is one step ahead of his foes, so his chances of prevailing in his outcome are far more likely.  This makes sense, as both Jackie and his character are much older, meaning that to physically have to fight would be harder and waste precious energy and strength. On the handful of occasions Quan is forced to fight, the sequences are devastatingly brutal. They play to Jackie's strengths with him using the environment around him to best his opponents but the close combat fighting is harsh in its delivery. Combine these two together and you have fight scenes, which are both realistic and impacting, whilst at the same time with enough flair to be surprising and entertaining. What is interesting about Quan as a character is that he doesn't actually kill anyone apart from those responsible. Admittedly, he does rough up those that get in the way quite a lot but he refrains from killing on several occasions, when it would be easier too. As I have mentioned before, Quan is calculating and objectionable. His morale compass stops him from killing Hennessy's men but it is also a clever power play. By using other techniques such as the threat of death or blackmail, he can get the information he needs and secure his own safety better. Following on from this, it was a strong decision on the directing and writing front, to shake things up a little bit in the last act of the film. Instead of sending more men to be outwitted, disarmed and knocked out by Quan, Hennessy sends his nephew, an ex soldier, who fought in Iraq. This stops it becoming too easy for Quan and adding a sense of new threat and danger to the story. Hennessy is an interesting and very well developed character. At first I found him rather dislikeable and then warmed to him and then later in the film, grew to really hate him. But what is clever about how he is written, is that there is no straightforward answer. He is neither good or evil. Hennessy hovers between, in a murky grey area, making it hard to form an decisive opinion of the character. The ones that surround him, particularly his ex IRA colleagues further add to this character's complexity and by the end of the film, I was faced with a character I strangely pitied in a lot of ways. Again though, his actions would then contradict with this and I would find myself at odds with the character again. Brosnan plays it very well, never revealing too much but hinting at possible secrets his character is keeping tucked away. The tension and pace is achieved remarkably throughout, juggling both what is happening on a personal level with Quan and Hennessy and the larger political game that is happening with the Northern Irish and English governments. Finally you have the perspective of the bombers themselves. These three story arcs interspersed with one another, make for an exciting watch and when the three story lines come together at the end, the climax is exciting and dramatic. This goes to show how important editing is in a film's delivery, showcased in both the splicing and cutting together of events, as well as the skill of the edits during the fight sequences. 'The Foreigner' takes an overused and predictable revenge plot device and instills it with new life. It does this in a number of ways. Firstly, it takes a political topic that is still very fresh in terms of British history and executes it well, through both it's character writing and strong acting from a plethora of well regarded and praised Irish actors. Alongside that you have Jackie Chan bringing something completely new to the table. Probably one of his best performances, Chan presents a character who is broken emotionally and later on in the film physically. At the same time, he delivers just the right amount of stunts and martial arts, which at the age of 60, is pretty damn impressive. Although it is a revenge film at it's core, there are enough twists and turns to stop it from becoming too predictable. The fight scenes are well thought out, packing a punch but with enough of a tactical approach to not appear totally ridiculous. If you are looking for a revenge film that stands out from the endless copycats of 'Taken', then 'The Foreigner' is well worth your time. It still packs all the punches but isn't afraid to explore it's characters and the larger political world that surrounds them.