'Machine Gun Preacher' dir. Marc Foster

Gerard Butler of 'SPARTANS!!' fame stars in this rather poignant tale of a man redeeming himself from a life of crime by saving orphans of the war against the LRA (Lord's Resistance Army) in Uganda and Sudan.

Butler portrays Sam Childers, a mean junkie biker, who heads back onto the streets from prison and promptly lets down his patient girlfriend Lynn (played by the excellent Michelle Monaghan) and daughter Paige who had expected a changed man.

After Sam is involved in a particularly brutal assault, he decides that it is time to change his life. With the help of his new found Christianity, he sets about the task of setting up his own building business to support his family.

A visiting Pastor from Uganda talks at the Childers' local church, giving them an impression of how many children's lives are affected by the civil war. Sam, who possesses a new found appreciation for the value of his own child, is moved to action by this speech.

It is at this point that the action switches to northern Uganda, where Sam is shown building an orphanage and acting as a part time mercenary to help the kids who have been left with nowhere to run by the LRA. Some of the moral choices he has to make are pretty tough viewing and Gerard Butler does well to show how embittered Sam becomes by his personal struggle.

There are some interesting takes on the roots of fundementalism here as Sam finds himself becoming what he is fighting. His violent past is playing catch up with him and each time he returns to Uganda, he becomes more angry with what he sees.

Indeed, this film is so much about Sam's mission that the minor characters largely come across as incidental. This is an undoubted weakness of the film, especially given that his home life, which is patently such an important part of his redemption, largely becomes a sub plot even when a series of personal crises bring him home to the US.

Nevertheless, there are some interesting takes on the power of religion to heal lost souls. However, some of the scenes in Sam's home church do come across as product placement for Christianity. In marked contrast, the LRA's loose, supposedly 'Christian' ideals are utterly reprehensible. They launch brutal assaults on defenceless villages. Several of these sequences are visceral and make for a difficult watch.

They are nonetheless a necessary watch and it is reassuring to see that a film about such a serious subject can still be made in an era when light fantasies and romcoms dominate. Machine Gun Preacher is not without its flaws, the story is far too focussed on Sam and few of the minor characters make much of an impact on a script heavily dominated by its leading character.

Despite these flaws, this film is worth renting at least for being by turns moving and ultimately uplifting.

Disclaimer: I do not own the rights to the photograph used in this blog and will remove it at the request of the rights holder.

'Five Star Billionaire' by Tash Aw

Five Star Billionaire is a novel that explores the relationship, some would say obsession, that its five central characters have with material wealth. All are Malaysian migrants, who, whether by choice or coercion, have moved to Shanghai in the pursuit of a better life. This journey proves to be a treacherous path for all.

First, there is Justin, a middle aged heir to a family business that he has been shaped to run since birth. His is a tale riven with the powerlessness of a man forced down a certain path in life by unloving parents. He is competent but uninspired, pale in comparison to his charismatic and feckless brother CS, a man who was once engaged to Yinghui, a woman for whom Justin holds a deep and unrequited love.

Yinghui herself is a converted idealist who represses her unhappy past with CS to concentrate on her present venture - a booming lingerie business that has overtaken her life. This leads her indirectly into the arms of a new man, a mysterious presence who hovers thoughout the story, a man by the name of Walter Chao.

Walter is a curious creation, the writer of a self help manual on how to get rich. He uses the painful example of his father as an example of how not to do it. These vignettes from his book intersect with the main narrative of the story of the other characters and the role that Walter plays in their present. The man himself remains an enigma to the end.

Two younger characters, Gary and Phoebe share an anonymous online relationship that helps to alleviate their growing sense of disillusion with the dreams they once pursued.

Gary is an ailing pop star, whose life off stage is by turns chaotic (on the rare occasions he is allowed out by his management) and lonely (when otherwise imprisoned in a hotel awaiting his next gig). Tash Aw shows an acute understanding of the isolating effects of celebrity - Gary cannot even leave his hotel without being mobbed.

By contrast, no one really knows Phoebe, a girl who pursues her dream of a better life ruthelessly. Unfortunately, her pursuit of this dream is backed up by a wreckless dishonesty which leads her to tell a series of lies that endanger the career she has set out to build for herself.

The lives of all of these characters touch at various points throughout the narrative, and whilst this does at times feel like a convenient plot device in a city of 23 million people, it does work. Tash Aw is very convincing when creating the lives and relationships of these well rounded human beings. An acute and well realised picture of each of them springs to mind when prompted to reflect on the book.

Even minor characters, such as Phoebe's shy and defensive flatmate Yanyan, are well realised. In particular, Justin's journey is populated by scores of vicious family members and competitors who attempt to manipulate him. All of the characters experience spells of loneliness, but his is the most heartbreaking and unnecessary journey into social isolation.

The quality of the writing is exceptionally high, especially when covering the sense of fear and doubt with which the city of Shanghai infects all of the characters. This novel is evidence of a rare talent giving full cry to his abilities and even though the themes of the book are somewhat bleak, the closing chapters offer several kernels of hope.

Highly recommended.

Disclaimer: I do not own the rights to the image used in this article and will remove it at the request of the rights holder.

'Age of Aztec' by James Lovegrove

The concept of this series may alienate certain readers, based as it is on the fantastic notion that mythical gods have become real, functioning entities. In the case of Age of Aztec (the fourth book in the series), the Aztec gods have arrived on Earth to implement their frankly bloodthirsty rule on the human race.

Ziggarauts have been built, human sacrifices are regularly performed and divine will is imposed with a cruel efficiency. Yet, in Britain, a masked man known as 'The Conquistador' is daring to challenge this omnipotence. In everday life, this man is Stuart Reston, chief executive of a major company and very much an establishment figure. He is a man whose vigalante quest is a way of dealing with his grief over the premature death of his wife and son.

On his tail is a young, determined police officer by the name of Mal Vaughn, who buries her guilt over her brother's death in alcohol and empty one night stands. The two of them enjoy a symbiotic relationship at first as Mal finds that her career, and indeed, her life are dependant on her ability to aprehend 'The Conquistador'.

This particular relationship develops predictably enough via an attempt at overthrowing the Aztec Pantheon. There are a few interesting minor characters thrown in by Lovegrove to liven up the journey - watch out in particular for a sexually repressed Colonel who takes out his frustration on the protagonists through a carefree attitude towards physical violence.

Lovegrove has constructed a fun thriller, with some interesting slants on ideas of divine rule between the fight scenes - some of which are so riddled with nasty mutilations that it is difficult to read them without wincing.

The high concept fantasy of Gods ruling Earth in the flesh is really just a thin cloak for James Lovegrove's usual themes of power, wealth and the corrupting influence thereof. Yet, it is interesting to note that the heroes of his books are often very wealthy themselves.

Indeed, Stuart Reston, a chief executive no less, is something of a Bruce Wayne figure and one sequence from the first part owes a heavy debt to The Dark Knight. His feckless, arrogant exterior hides a man stricken with anger at the gods for the loss of his young family.

Nevertheless, Lovegrove makes far more time for Mal Vaughn - a tough if imbalanced character who comes to the fore whenever fate deals her a difficult hand. She is a strong woman, yet full of insecurities which she hides from those under her command.

This novel is another volume in what is proving to be an immensely readable fantasy series. Despite a slightly jarring and abrupt change in the narrative when the action switches from Britain to Mexico, it is a thoroughly enjoyable ride. I would recommend Age of Aztec and its predecessors, especially for anyone with even a passing interest in mythology.

Disclaimer: I do not own the rights to the picture used in this blog entry and will remove it at the request of the rights holder.

The Gendarmes @ Camden Rock - Friday 01/03/2013

Okay, I'm branching out a bit here into a music review. This may be a one off and before I start on this, there is one other admission that I would like to make - one of bias in this review. The Gendarmes' lead guitarist and drummer are two old friends from University. Nonetheless, I would hope to retain some kind critical neutrality.

And, purely as a neutral, may I state that The Gendarmes rocked the joint.

Now I'm not very rock and roll (though perhaps more rock and roll than one of The Gendarmes, who spent part of the build up to the set commenting on Health & Safety arrangements at the venue) and I spent most of my teenage years in libraries. However, I found Camden Rock on Friday night to be a fairly epic experience. The cavernous, tight venue gave fine acoustics which did full justice to rhythm guitarist Jamie Woolams' earthy, raw voice.The set had a rapid quality which motored through some well known (and less well known) numbers.

A version of 'Day Tripper' had a particularly Lennon esque resonance. It gave the feel of an authentic, classic rock sound. Some friendly banter from the crowd, including a fairly irreverant shout of 'Play Gagnam Style' directed at lead guitarist Johnny Farrugia did not put them off their stride. Every song sounded well rehearsed and polished.

I would urge everyone I know to see these great blokes play their fine music. There was no pretention in the set, no sense of ego or entitlement came across in the delivery. It was four guys just playing good music amongst friends. An awesome night gentlemen. Well played.

Disclaimer: I do not own the rights to the photo used in this article and will remove it at the request of the rights holer.

'The Godfather: Part II' directed by Francis Ford Coppola

This film is overlong, dull, and full of deeply unsympathetic characters.

Yet, I can understand the appeal of The Godfather: Part II despite being far more partial to the original Godfather which is a much more tightly scripted and better characterised drama.

The tale of Michael Corleone's rise to prominence is one that burns slowly as the film shapes a man who is desperately trying to retain control of a criminal empire that is constantly slipping through his fingers. With a casual, carefree attitude to brutality, he sets about dismantling his enemies in government and his rivals on the streets. This thoroughly depressing amoral crusade is aided by the underlings that his father Vito has left behind.

Al Pacino does a wonderful job as Michael and it is easy to see why this film made his name. His performance consists of a range of facial expressions that move from bleak to terrifying. The delivery of his lines is wrought with the anger and fear that characterises the man. In particular, his scenes with John Cazale (Michael's brother Fredo Corleone) have a level of mutual contempt that is rare in any film.

Nonetheless, I did not find myself being hooked by this story. This is a man who lacks any sense of decency or respect for anyone but himself, covering it loosely with some vague and empty notion of 'family' which he regularly ignores when it suits him. Frankly, it left me cold.

More interesting was Robert De Niro's subplot as the younger Vito Corleone. At least in Vito's case, we get some impression of why he ended up as head of a criminal enterprise. Motivated partly by the death of his Mother, his actions at least have some kind of foundation in his experiences.

De Niro's Vito wears a permanent half smile, reminiscent of Marlon Brando's performance in The Godfather. His section of the story has greater depth to it and offers a backstory that is far more believable of a typical crime lord. At times, it is possible to see a trace of humanity in De Niro's portrayal, something which cannot be said of almost any of the other characters in the film.

And that is the main concern that I had whilst watching it. I could hardly relate on any level to any of the characters. None of them possess any form of backbone, courage or fortitude. None of them have to struggle - they simply kill their way out of their problems.

For that reason alone, not to mention the unbearably long running time (3 hours and 20 minutes) this film did not do anything for me. There are some fine performances in it and Coppola's direction is interesting. Nonetheless, it does not have the lightness of touch that makes The Godfather a better film.

If you have not seen it, then it is an interesting watch for the performances of Pacino and De Niro alone but it is far, far too pleased with itself and it is a film that is profoundly overrated.

Disclaimer: I do not own the rights to the photograph used for this article and will remove it at the request of the rights holder.