Donnie Brasco (1997)

I thought we should finish our Johnny Depp week with something truly great, and go out with a bang that's worthy of the man's name. After all, we started the week with Private Resort - it's only fair to look at both ends of the scale.

While Private Resort showed us a young, immature Mr. Depp struggling with a terrible script, Donnie Brasco displays him at his peak, and in one of his best ever performances. Like many other Mob-based movies, it's not for the faint-hearted, or those easily sickened by the sight of blood, but it rewards our courage with both thrills and genuine emotion. Plus it features some of the best actors currently working in Hollywood.

Depp's performances tend to fall into two camps: the wilfully bizarre (Pirates Of The Caribbean, Charlie And The Chocolate Factory), and the toned-down but highly emotive (Finding Neverland, Benny & Joon). He also has a tendency to portray real-life characters, working his way inside their skin like the true professional that he is. Whether these fall into the first or second camp largely depends on who he's portraying - for J.M. Barrie he's straight-laced and emotive, for Hunter S. Thompson he's strung-out and weird.

His performance in Donnie Brasco falls into the straight-laced, real-life category. There aren't many laughs to be had here, but Depp still manages to give an enthralling performance. It's a measure of his ability that he manages to share much of his screen time with Al Pacino, and still doesn't fade into the background.

JD plays Donnie Brasco, otherwise known as real-life FBI undercover agent Joseph Pistone. He works his way slowly into the Bonanno Mafia family, first ingratiating himself to 'Lefty' Ruggiero (Al Pacino) as a gem expert. Lefty vouches for him, he's accepted into the group, and all seems to be going swimmingly.

Except he's getting non-stop pressure from all directions, and sooner or later something has to crack. His wife and children are as good as abandoned while he undertakes the undercover operation, and what was supposed to be a three month mission stretches to several years. It's no great surprise when she begins to talk about divorce.

Plus his FBI bosses are on his back, forcing him to introduce Mafia captain Sonny Black (Michael Madsen) to another of their undercover agents in Miami. The only problem is that the Mafia agent is an idiot, and he very nearly gets both him and Donnie/Joseph killed on more than one occasion.

Then there are the everyday stresses and strains of trying to pretend you're in the Mob, while secretly carrying a tape recorder around in your boots. This is set in the 70s after all - there were no pinhead-sized microphones then. Joseph/Donnie almost comes unstuck when he has to take his boots off in a Japanese restaurant.

Eventually Joseph is so far undercover that he starts to lose sight of who he really is, and the Donnie persona begins to take over all aspects of his life. He has a dilemma, though: if he abandons his cover and testifies, then Lefty will be whacked for vouching for him, and he's come to love him like a father.

We've already talked about Johnny Depp a lot this week, so let's just say that he gives an outstanding performance and leave it at that - if you've only seen him in his comedy roles until now, then you really want to check this out.

Al Pacino also shows what a versatile actor he is too, however, and that's what makes Donnie Brasco such a great movie - it has not one, but two genuine stars. If you're used to Pacino being typecast as the loudmouthed, angry one, then think again: here he's downtrodden and down on his luck, a mobster who once had grand dreams but, after 26 hits, has found himself still stuck in the same apartment, with almost no chance of promotion, but every chance of getting a bullet in the back of the skull.

It's a smart twist on the Mafia stereotype that you expect from Pacino, and it gives the movie an emotional heart that so many Mob films are lacking. He's more Tony Soprano than Michael Corleone.

Even if you were sickened by the likes of Casino and Goodfellas, you might want to give Donnie Brasco a shot. It certainly has a lot more heart than most films in the genre, plus, of course, you get to see Mr. Depp and Mr. Pacino side by side.

Also look out for Paul Giamatti in a small role as an FBI technician, before he rose beyond being just another jobbing character actor - he even gets a great bit of dialogue with Johnny about the meaning of the phrase 'forget about it'.

And if you're really paying attention, you might even recognise the other FBI techie too - it's none other than a young Tim Blake Nelson, otherwise known as Delmar in the Coen Brothers' O Brother, Where Art Thou?, and soon to appear in The Incredible Hulk alongside Edward Norton.

But you knew that already, didn't you? Well then - forget about it...

5/5

Buy Donnie Brasco at Amazon.com

Pirates Of The Caribbean: At World's End (2007)

I guess I can't have a Johnny Depp week without at least dipping a toe into the waters of the Caribbean, and it seemed to make sense to take another look at the final installment of the Pirates... trilogy. After all, this was possibly the most poorly-received of the three films, despite a good return at the box office, and for many of us it felt like the biggest letdown since George Lucas's return to the Star Wars universe.

So was it really that bad?

Well, yes and no. It still looks messy and needlessly confusing compared with the first two movies, but there's some solid material in there (especially in the latter half), and it actually makes a lot more sense the second time around. I guess that could be seen as a strength rather than a weakness - it's a poor compensation for those of us who only saw it once, though.

Just in case you've forgotten what happened (or couldn't quite follow it the first time around), here's the quickest summary I can manage. It's not going to be easy to cram this many convoluted plot twists into a few paragraphs...

The movie opens with Elizabeth Swann (Keira Knightley) and Captain Barbossa (Geoffrey Rush) in Singapore, approaching rival pirate captain Sao Feng (Chow Yun-Fat) with a business proposition. Only it turns out that he's already caught Will Turner (Orlando Bloom) trying to steal a map to the end of the world earlier that day, and has put two and two together.

Their meeting is disrupted by soldiers from the East India Company (you'll remember that these were the bad guys in the first two movies - it can be a cutthroat business, transporting tea), and Elizabeth, Will and Barbossa escape. Not before Will has cut a deal with Sao Feng, however: he promises to deliver Jack Sparrow to the Singaporean pirate, who has a long-running feud with Sparrow.

The three of them return to their ship, and Barbossa steers them over the edge of the world, in an attempt to get Jack back (each has their own reasons for wanting Sparrow back, but they're all too long to go into here). Jack has been going quietly crazy in a desolate white wasteland (not that he was overly sane to start with), and at first he thinks they're an illusion. Eventually they all manage to find their way back to the world of the living, though, with the Black Pearl intact.

We've already wasted far too much time on plotline, so here are the highlights of the rest: the council of nine pirate captains meets, Keith Richards appears as Jack Sparrow's Dad, the sea goddess Calypso is released from human form having been imprisoned there by the pirate captains, Davy Jones (Bill Nighy - we even get to see his face this time) has his heart pierced by Will Turner, there's an enormous sea battle with the East India Company that takes up over half an hour, and Will and Elizabeth marry.

Except there's a catch - isn't there always? We'll keep that under our wide-brimmed hats, though: we don't want to give the game away...

The film's largest fault is undoubtedly its opening thirty minutes, as the writers and producers clearly misunderstood what people wanted to see. Swashbuckling and double-crossing is all well and good, but without Jack Sparrow this becomes just another pirate movie (and I don't need to remind you all of Cutthroat Island, do I?).

In fact, even once Jack returns half an hour into the movie, he doesn't actually interact with anyone else for another ten minutes. And Jack's always funniest when he's bouncing off other people, no matter how many times he swaggers drunkenly across the deck.

You don't need me to tell you how great Johnny Depp is as Jack Sparrow, as the role has already been written into the Hollywood Hall of Fame. The one positive thing about his absence for the first half an hour is the way in which it allows the other actors to shine, however, and several of them rise admirably to the challenge. In particular Geoffrey Rush is endlessly entertaining as Barbossa, and Keira Knightley is given a much meatier role than before as Elizabeth Swann.

I have to mention the sterling job done by the minor English cast members too, especially Jack Davenport as James Norrington (soon to be seen in a new TV drama about swingers, no less) and Jonathan Pryce as Elizabeth's father. I couldn't call myself a Brit if I didn't.

The biggest disappointment, however, is Orlando Bloom. Again. While everyone else makes an effort to step up into the Jack-shaped gap, Bloom remains dull and two-dimensional. It doesn't help that the script requires him to double-cross everyone and still end up with the girl, but even so his performance is about as lively as a fish supper. He may look pretty, but someone needs to go back to acting school.

The die-hard Pirates... fans will still love this movie, and it has plenty to recommend it, but it pales alongside the original film. Even Johnny lacks a little of his usual vim and vigour. It's still entertaining, but it's never going to blow anyone away.

I couldn't help chuckling at the warning before the movie began, however. I'm talking about the standard American warning from the FBI, the 'anti-piracy' blurb. I guess the Feebies have always lacked a sense of irony... savvy?

3/5

Buy Pirates of the Caribbean: At World's End at Amazon.com

Cry-Baby (1990)

Fast-forward five years from Johnny Depp's first attempt at comedy yesterday, and now we can finally share a few chuckles with him (and not so many embarrassed grimaces). In fact, Cry-Baby is a hilarious take on the 50s teen movie genre, spoofing everything from Grease to the early Elvis musicals, and even without Depp's involvement there are enough chuckles to keep you watching.

This was the second mainstream Hollywood movie to be made by cult filmmaker John Waters, following the success of Hairspray (the original screen version, not the musical-remade-into-movie version that we've looked at on this website before) - and the two films share many similarities. Cry-Baby has even been adapted into a stage musical in the last year, so it might not be long before we get a remake of this movie too.

JD plays the title character, Wade Walker, also known as Cry-Baby. The nickname comes from a single tear he sheds every day in memory of his dead parents, both of whom went to the electric chair for the so-called Alphabet Murders... or something. As you can probably tell already, this movie embraces the nonsensical conventions of the teen rebellion movie genre, and spits them back in our faces: don't expect the narrative to make a whole lot of sense.

Anyway, Cry-Baby is a 'Drape', the teen gang of rock'n'roll-loving, leather-wearing, hair-quiffing teenage delinquents that terrorises 50s Baltimore. Except they're not actually that mean or scary - they just like scowling a lot, and driving their cars too fast. Cry-Baby in particular is about as threatening as John Travolta in Grease. I'm sure that's no coincidence, either.

Directly opposed to the 'Drapes' are the 'Squares', those smartly-dressed Ivy Leaguers who everyone in their right mind loves to hate. They're actually the instigators of all the problems in the town, but because of their background and their rich parents the blame always seems to fall on the Drapes instead.

Huey Lewis may have thought that it was hip to be Square, but John Waters obviously begs to differ.

I'm sure you can guess what's coming next: one of the Squares, Allison (played by one-film wonder Amy Locane) falls in love with Cry-Baby, and he falls for her too. (Bear in mind that the falling-in-love scene occurs over a polio vaccination - this movie may toy with conventions, but it certainly doesn't abide by them.)

All sorts of escapades ensue, as the star-crossed lovers try to be together, with those evil Squares trying to block them at every step. It doesn't help that Allison is supposed to be dating Baldwin, the lead singer with cringeworthy local a cappella group The Whiffles.

I should also mention that Cry-Baby is a musical of sorts, with characters occasionally bursting into 50s-themed songs in true Grease fashion. And you thought that Sweeney Todd was Depp's first musical effort, didn't you?

Well, actually it was, as it's not his voice that you'll hear at work in Cry-Baby - that was provided by James Intveld, and merely mimed to by Mr. Depp. Even so, though, he still makes a pretty good job of the dance numbers.

Critics and moviegoers didn't know what to make of Waters' slapstick version of satire when the film was first released, and it failed to recoup its $11 million budget ($12 million according to some sources) when it hit the cinemas. Just like all the best teen musicals, though, there's a happy ending to the story - time has been much kinder to Cry-Baby, and it's since achieved the cult following that it deserves.

This movie is a blast from beginning to end, from John Waters' unique eye for interesting faces to the endless digs at Travolta, Presley and even Marlon Brando in The Wild One. There's a great supporting cast too, including Willem Dafoe as a redneck prison guard, ex-porn star Traci Lords as a saucy Drape, and Iggy Pop as Cry-Baby's ridiculously-named uncle Belvedere Rickettes.

Where else could you watch Iggy driving a car with Johnny Depp strapped to the roof, while Rikki Lake gives birth in the back?

I guess Cry-Baby will still be a little too grotesque and over-the-top for some tastes, but there are plenty of laughs to be had, and Johnny sends up his teen idol status to great effect (at the time he was still best known as the heartthrob from 21 Jump Street).

It's interesting to note that he had spent the last five years on that TV show, and this was in fact his first starring role in a movie since 1985's Private Resort. I guess it's easy to see why he struggled to get movie work after that one - it's amazing what a few years in TV can do for your comic timing.

And finally, an odd connection with yesterday's movie. You may recall that Private Resort co-starred Rob Morrow, better known as Northern Exposure's Dr. Joel Fleischman. Well, Cry-Baby also stars a one-time resident of Cicely, Alaska - this time Darren E. Burrows, otherwise known as loping amateur filmmaker Ed in the TV series. Here he plays Milton Hackett, the bassist in Johnny Depp's band and an integral member of the 'Drape' gang.

He still lopes and mumbles quite a lot, though.

4/5

Buy Cry Baby at Amazon.com

Private Resort (1985)

I promised Johnny Depp movies for the rest of the week, so here we go…

What, you didn't expect it to be Pirates Of The Caribbean every day, did you?

Let’s be clear about one thing from the outset – Private Resort sucks. Sure, it has Johnny Depp in it. Sure, Rob Morrow co-stars. But there the good things end – this is about as funny as watching endless Carry On… movies with all the sexual innuendo taken out.

You see, Private Resort falls into that curious 80s sub-genre known as the Sex Comedy. And yes, before you say it, Porky’s was rather funny at times. But did we have to remake it fifty times over? Without the gags? Or, in this instance, the sex?

Sure, we still have movies like American Pie and, oh, American Pie 2, American Pie 3, and American Pie Presents: Band Camp (don’t even ask), but at least they had some kind of viable setting, and a plot, and some real actors. Hell, in comparison to most of the Sex Comedy genre they’re practically Oscar-worthy.

Let’s get that plotline out of the way, such as it is. Ben (Rob Morrow – better known as Northern Exposure’s Dr Joel Fleischman, in his big screen debut) and Jack (a prepubescent-looking Mr Depp) have come to a beach holiday resort for the weekend. To get laid. They proceed to leer at every woman who walks past in a bikini… which is every woman. Jack keeps trying to pretend that he’s a babe-magnet, but he’ll have to wait another ten years or so for that.

In the meantime, Ben falls for one of the cocktail waitresses, and wouldn't you know it, she likes him too. Only things are never going to be that easy – this is a comedy, after all.

What stands in the way of their teenage lust (other than the lecherous Jack) is The Maestro, a curiously inept yet heavy-handed criminal who intends to steal a diamond necklace from one of the resort’s older visitors. And - wouldn't you know it – her granddaughter is the girl that Jack has his eye on.

There’s an incredibly contrived sequence where Ben ends up having to cut The Maestro’s hair, which he happens to be incredibly picky about, and accidentally shaves a bald stripe up the middle. While Jack runs around the bedroom naked with The Maestro’s wife.

Then there’s another preposterous storyline about a New Age-type who likes getting naked but won’t have sex – but I won’t bore you with that. It’s about as silly as it sounds.

On the plus side, those of you who want to catch a glimpse of Johnny Depp's bare ass (or, indeed, Rob Morrow’s) are in for a treat. You might want to fast forward through the rest of this poor excuse for a movie, though.

And the rest of us will want to avoid it entirely.

If I’m being generous, I ought to point out that Morrow and Depp are easily the best things in it, and it isn't hard to see why they were the two that emerged from this debacle with their careers still intact. Their attempts to actually act are valiant, if foolhardy, and whenever they’re off the screen you might as well take a bathroom break. Even the hardcore Depp fans won’t be too happy – he’s only on screen for about a quarter of the film.

Which brings us on to our first Johnny Depp fact of the day. Despite having spent the best part of his career trying to write Private Resort out of his résumé, in 1985 Depp and Morrow snuck into a preview of the movie that everyone associated with it was banned from attending.

Morrow stuffed his cheeks full of cotton wool (a trick learnt from Brando in The Godfather, no doubt), while Depp wore geeky glasses and a woolen hat. Of course, in later years the glasses and hat would become one of his many ‘looks’, but on this occasion it allowed him to sneak past the studio execs and watch the preview of his own movie. A movie that he decided never to refer to again.

Yes, it really is that bad. I’d say that you have to see it to believe it, but for once I wouldn't wish that on anyone.

1/5

Buy Private Resort at Amazon.com

Charlie Wilson's War (2007)

We're starting this week with a relatively recent release on DVD, although in response to a request we'll be spending the rest of the week looking at Johnny Depp movies. If we hadn't already reviewed Sweeney Todd I guess we could have done that today instead, but never mind. Oh, the benefit of hindsight.

Here's a quick rundown of Charlie Wilson's War, for those who know nothing about it. Directed by Mike Nicholls (the man behind such classics as The Graduate and Postcards From The Edge), it stars Tom Hanks as Congressman Charlie Wilson, alongside substantial performances by Philip Seymour Hoffman and Julia Roberts.

Hoffman was Oscar nominated for his (supporting) role, but he didn't win. You can bet that you'll see him back on that nominations list within a year or two, though.

The movie is based on the real life story of Charlie Wilson's involvement in the downfall of the Soviet Union. Are you wondering why you haven't heard of him before, considering that he played such a significant part in world affairs? Well, his role wasn't exactly a very public one - until now, that is.

Wilson, also known as 'Good Time Charlie', was probably better known for his excesses than his achievements. After all, there can't be many members of Congress who take drugs and cavort in a Vegas hot tub with naked strippers. Well, not ones who agree to a movie being made of it, anyway.

Thanks to Joanne Herring (Roberts), however - the sixth richest woman in Texas - Charlie is made aware of the atrocities being committed by Russian troops in Afghanistan. The Cold War is still silently raging at this point, of course, so he's keen to sock one to the old enemy - but he's also moved by the injured children he meets on a visit to the country. Those damned reds are just downright evil.

Charlie therefore starts a campaign to raise funds for a covert US operation in Afghanistan, providing funding and weapons to the Afghan freedom fighters. He's helped along the way by plain-speaking, unconventional CIA operative Gust Avrakotos (Hoffman), making them one of the most unlikely, eccentric political teams in living memory.

Except they work well, obviously. Because if you know your history, then you'll know how this story ends. The fact that this movie wasn't even released in Russia probably tells you all you need to know.

Of course, the political status of Afghanistan also has a relevance at present, and it's good to see that the movie acknowledges this, as well as America's own role in allowing the Taliban to take control. Hopefully a few current politicians might see this movie and change their thinking on the best solution for Iraq.

Tom Hanks is witty and endlessly entertaining as Charlie Wilson, but you don't need me to tell you that. The man's come a long way since Big, and he certainly earns his title as one of the highest earning Hollywood actors with this performance. The role is just perfect for him too, allowing a suitable mix of humour and severity.

You shouldn't need me to talk up Philip Seymour Hoffman either, as he's currently the fastest-rising star in Hollywood's sky. It's all too easy to forget that until recently he was considered nothing more than a character actor - now he's almost big enough to draw an audience on his own.

That just leaves Julia Roberts to mention, and she's as reliable as ever, even beneath a rather unbelievable blond wig. The way she drags Hanks around like a puppy on a leash should raise a few chuckles, too.

If Charlie Wilson's War does have a flaw it's simply that it's too short, with some of the scenes and character development feeling a little rushed. The end result is that you'll find yourself wishing for more as the credits start to roll - but maybe that's not so great a flaw after all.

As a blend of wit and political commentary it succeeds admirably, and if you want a dose of horror too then just watch the DVD extras.

In the cast interviews both Roberts and Hoffman admit to not knowing about America's covert operations in Afghanistan before their involvement with the movie, and if they didn't know, then I'm sure there are millions of ordinary civilians out there who didn't either. Now - can you think of a reason why Bush would have left this out of his 'war on terror' speeches?

4/5

Buy Charlie Wilson's War at Amazon.com

Leaving Las Vegas (1995)

You may have noticed that - with the exception of Ocean's Eleven - we've tried to avoid the glitz and glamour of Las Vegas this week. Losing Ground looked at the dangers of unchecked gambling addiction; Very Bad Things looked at the flip-side of the excessive lifestyle that Vegas encourages, and the consequences of a single moment of 'living it big'.

Today's movie continues this dark trend, exposing the alcoholics and sex workers who also make up part of the Vegas community. After all, it can't all be flashing neon and dazzled holidaymakers, right?

If this week's slice of Vegas-themed movies is anything to go by, the city has moved a long way from Elvis's Viva Las Vegas.

Nicholas Cage plays Ben Sanderson, a Hollywood screenwriter who takes solace in alcohol after a messy divorce, and loses his job as a result. Having already lost everything that was important to him, he decides to liquidate all his remaining funds, move to Vegas, and literally drink himself to death.

He predicts that this will take four weeks to do. From the opening sequence onwards, it's clear that he has a pretty good head start.

Once in Vegas he meets hooker Sera (Elisabeth Shue), having almost run her over during a drunken haze. He pays her to come back to his motel room, but once there he only wants to drink and talk. They get drunk together and pass out on the bed (I'm not sure that Sera's pimp, a hammed-up Julian Sands, would approve).

This is the start of an unlikely romance, with neither party wanting (or staying sober long enough to manage) much of a sexual relationship, but with both relying on each other for emotional support. Here are two people who have hit rock bottom - what they find in each other is some companionship and basic human decency.

All Ben asks is that Sera never asks him to stop drinking. He may enjoy her company, but his character arc is only destined to end in one place.

As love stories go, Leaving Las Vegas is a remarkably depressing one, based on a mutually unstable and destructive relationship (there's a particularly gruelling rape scene, too). At the same time, however, Ben and Sera draw much more comfort from each other than they have been able to achieve on their own. You can't help feeling that Sera enjoys having someone need her for something other than her body for a change, too.

Apparently Nick Cage spent two weeks in Dublin preparing for this role, drinking to excess while a friend filmed him, so that he could study his mannerisms and speech patterns while inebriated. It may sound like a poor excuse for tax write-off, but he truly reaps the benefits of his preparation here - you'd be forgiven for imagining that he actually staggered through the production while struggling to focus on his lines.

He not only gives a believable and engaging portrayal of alcoholism, but he also manages to make it both engaging and poignant. Ben may be witty and lovable when he's at his best, but when he hits rock bottom he's as tragic a figure as you're likely to see. It's no wonder that Cage won an Oscar for his performance.

Admittedly, Leaving Las Vegas may not be to everyone's tastes - and it's possibly one of the worst date movies of all time - but there's so much to admire in its frank portrayal of both alcoholism and prostitution that it deserves to be considered a modern classic. Even the depiction of Vegas is as realistic as you could ever expect get, from the streets crowded with people from every walk of life to the controlled atmosphere of the casinos themselves.

You can be sure that there are no lingering shots of the Bellagio's fountains here.

Oh, and watch out for director Mike Figgis on the other side of the lens, appearing as a Vegas mobster. He may have made this week's most tragic and upsetting movie, but at least he can lay claim to a uniquely gritty kind of genius.

5/5

Buy Leaving Las Vegas at Amazon.com

Very Bad Things (1998)

From the sublime to the ridiculous for today’s Vegas flick. If you haven’t seen Very Bad Things before (and for some reason it seemed to slip through an awfully large number of nets), this is a black comedy from writer/director/actor Peter Berg.

And when I say ‘black comedy’, I mean really black. Any comedy with this high a body count isn't big on light and fluffy.

It also stars Cameron Diaz, star of current hit What Stays In Vegas, which means that the gal has appeared in not one but two sin city-themed comedies. I’m guessing that she has a pretty good poker face by now.

Kyle Fisher (Jon Favreau, director of yet another current cinema hit, Iron Man) is getting married to none other than Ms Diaz, and for his stag party he’s heading to – you guessed it – Vegas, with a small group of his closest friends for company.

When you see that this group includes Christian Slater, though, you can be pretty sure that things aren't going to end well. They never do when Christian’s involved.

Things start out without too much trouble. Our band of reprobates party until they’re ready to drop: drinking, taking drugs, and even trashing their hotel room. I guess they wanted to know what it felt like to be Keith Richards.

Then the stripper turns up (real-life porn star Kobe Tai), and things take a turn for the worse. It’s not so much the way in which Jeremy Piven takes her into the bathroom for a ‘private session’, as it is the way that he returns covered in blood. Her blood.

Oh, and she’s still stuck to the bathroom wall thanks to a particularly sharp towel hook through the back of the head.

I told you it was dark.

Anyway, Christian convinces them that they’re better off covering the murder up, as things wouldn't look good if they called the cops – those class A drugs certainly wouldn't go down very well. So they cut her up, wrap her in plastic, and bury her in the desert. What happens in Vegas stays in Vegas, after all.

All of which should end the story, but of course none of our stag party are cut out to be cold-hearted killers (apart from Christian, clearly) and the guilt starts to get the better of them. As the wedding draws ever nearer those very bad things of the title start to happen, and we can do little more than hold our breath and watch to see who will be the last man standing.

Forget, if you can, that Berg has since directed stylish actioner The Kingdom, for Very Bad Things is based more on slapstick comedy than thrills and spills. Black slapstick comedy, obviously. If you didn't find it funny when Jerry flattened Tom’s head with an iron, then this isn't for you.

In fact it looks as if Very Bad Things may have more in common with his latest project, Will Smith-starring superhero spoof Hancock, although we’ll have to wait and see if this is actually the case. I doubt that Hancock can get much darker than this – although apparently they removed a scene of statutory rape to get a better rating, so you never know.

I’d better state once again that you have to like your comedy black and bloody to truly enjoy Very Bad Things – but if death and mayhem has the potential to make you chuckle then this is one of the most neglected comedies of the last ten years. Hardly a minute is wasted as it propels us through a very modern view of purgatory and hell, and by the time the shocking finale comes around you’ll either be gasping for breath between the laughter, or vomiting into a bucket.

If you can’t already tell that I liked this movie, then let me just add that it’s almost certainly Slater’s finest comic work since Heathers, and holds up well as a companion piece to that cult classic. Just what is it about that boy and wanton chaos and murder?

We can consider ourselves lucky if Hancock is even half this good.

4/5

Buy Very Bad Things at Amazon.com