chrisgp-889-15634

John Slattery's feature film debut is a competent if small-scale effort. Faithfully adapted from the 1983 novel of the same name, it is an enjoyable snapshot into a dark lower Philadelphia Neighbourhood.

What is obvious is the affection for the source material. The film differs little from Pete Dexter's book, and is better for it. The sometimes lethargic pace is livened by some genuine surprises, and there is always that all important sense of atmosphere.

If there was ever an actor who knew not how to overact, it was Philip Seymour Hoffman. In his penultimate appearance, he and Christina Hendricks both deliver an underplayed performance as the central couple, allowing the rest of the ensemble the more colourful scenes.

It is not without it's faults. The story is told over a period of three days, and it is perhaps for that reason that it sometimes feels episodic. The whole film plays like one of Slattery's self- directed episodes of Mad Men. The ending does not escape the clichés typical of its genre. Nevertheless, it is an entertaining watch, a promising debut, and another sad reminder of why Philip Seymour Hoffman will be missed.

The most violent eruption of Vesuvius has inspired many depictions of the destruction of Pompeii and Herculaneum. There are plenty of stories to be told in this event, the volcano undermines the Romans belief of their infallibility, and the eruption is spectacular.

However, instead of focusing director Paul W.S. Anderson instead assembles a collection of television actors (Kit Harrington from Game of Thrones, Kiefer Sutherland from 24 and Adewale Akinnuoye-Agbaje from Lost) to play out a dumbed down version of Gladiator.

The first half of the film is desperately contrived; a slave witnesses his family killed by Romans, and years later encounters the man responsible in the arena of Pompeii. The derivative plot could be forgiven if the fight scenes were up to much, but they are edited so frenetically that it's impossible to keep track of what's going on. Even the death of one character in the arena is identical to that of the emperor's in Gladiator.

On the plus side, the eruption itself is impressively handled, even if the 3D is not. The film is at most enjoyable when Vesuvius is bombarding Pompeii with huge igneous chunks of rock or smothering it with a pyroclastic surge. The tidal wave that sweeps back escaping ships is less convincing (particularly as no ships were discovered in the ruins).

Spectacular though the eruption is, there is fatal lack of energy and storytelling, leaving Pompeii as a sword-and-sandals adventure is little more than a guilty pleasure.

There is no denying the enormous influence this film carries. This first film to tell its story through the eyes of a madman. It is a shame that the story it tells is confusing and incoherent.

It's saving grace is the revolutionary visual style, made all the more effective by the contrast between the main body of the flashback and the present segments which bookend the film. The expressionist sets are ingeniously combined with a jerky acting style to create a genuinely spooky atmosphere.

However, removing the stylistic ingenuity, we are left with a monotonous plot that is too difficult to follow, with primitive acting to boot.

The one enjoyable element of the story was the "twist" ending, although it does not change your perspective on the flashback scenes on a second viewing. Ultimately Dr Caligari has become a museum piece.