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David Gordon Green gave us 'Pineapple Express' but he also graced us with 'Prince Avalanche' and let's not forget he got Cage back to his best in 'Joe'. So can he do the same for Al Pacino, in a role specifically written for him, well yes and no. For anyone who has winced at Pacino's career of late I will say that this is one of his better roles but he essentially playing himself, a locksmith called Manglehorn who can't escape his past which won't allow him to live in the present. He spends his days with keys and his night with his cat Fanny and a whole heap of unhealthy memories. Friday he religiously goes to the bank where he meets Dawn (played brilliantly by Holly Hunter)and they start a strange friendship but will it be enough to pull Manglehorn into the now? The story is simple enough and has some truly great moments but there are also a few weird dream sequences that I'm not sure worked as well as they could. The cinematography is great and along with the soundtrack, acting and direction the story of Manglehorn is watchable if not a little long and quite slow paced. Expect a few laughs but it's really a more sombre affair about ageing, memories and living and one that will make you think about life, love and mortality. So 'Pineapple Express' it isn't you have been warned.

'What's the point in civilisation if we can't be civilised?' asks Frank (Murray) quite early on in Bobcat Goldthwait's latest indie feature 'God Bless America' a darkly comic melodrama that aims to lampoon everything that is wrong with media, society, advertising and modern cultivated culture. After the brilliantly twisted 'Sleeping Dogs' and the underrated 'World's Greatest Dad' Goldthwait is carving himself out as an interesting writer/director to watch and this is no exception. While not always hitting its intended targets it is none the less a great little road movie with brilliant central performances from Joel Murray as Frank and Tara Lynne Barr as Roxy a kind of watered down Natural Born Killers meets Bonnie and Clyde but with elements of 'Falling Down' and to a certain extent 'Leon'. The script is sharp and the cinematography, for its low budget, is commendable so even when the film misses a beat it can really be forgiven and with a good use of music and humour to carry it along there is a lot to like about this movie. Some may not like how heavy-handed it can be with its message at times and at 100 minutes a feels a little long in places but Goldthwait always seems to bring it back round. While not as clever as say Palahniuk or as satirically accurate as Chris Morris it none the less has something to say and doesn't come over as too preachy at the expense of the entertainment on offer. Film fans will love the cinema scene at the halfway mark and the visceral opening monologue would be shocking if it wasn't so hilarious. Sadly certain nods to popular culture may date the film in time but for now enjoy what is another quirky but powerful film full of dark comedy and social commentary from one of America's leading indie directors.