Why We Fight,
out to own on DVD now

AN eloquently argued documentary about the self-serving relationship between the US government, its military and defence contractors, Why We Fight raises some disturbing issues. With its basis in President Eisenhower’s 1961 farewell address, in which the former general warned of the dangers of the so-called military-industrial complex, director Eugene Jarecki states the case that a combination of political ambition, commercial interest and, ultimately, manipulation of a public thirst for revenge in the wake of 9/11 put America on a path to a morally dubious war in Iraq. He draws on interviews with politicians, soldiers and members of the public to portray a multi-layered argument. Whether you agree or not with the conclusions, this is compelling viewing.

Where in the world is Osama Bin Laden?, in cinemas May 9

ON a mission to make the world a safer place in readiness for the impending arrival of his first child, Morgan “Super Size Me” Spurlock takes on a franchise even more powerful than McDonald’s – al Qaeda. While the filmmaker’s hunt for Bin Laden provides no shortage of laughs, and the film’s interviews with the rational and radical faces of the Middle East are enlightening, Spurlock’s conclusion – that parents the world over share the same hopes and fears – is disappointingly sentimental and unsensational.

Taxi to the Dark Side,
in cinemas June 13

A DISTURBING journey into how the US extracts information from terror suspects, Taxi to the Dark Side raises questions over whether techniques used by interrogators in Iraq, Afghanistan and Cuba are justified. Using the tale of an Afghan taxi driver who died in US custody as a starting point, Alex Gibney’s documentary draws on witness statements and testimonies to probe whether sleep deprivation, hooding and the use of stress positions could be classed as torture. The feature is, at times, uncomfortable viewing but the film is well put together and the case convincingly set out.

Storm Warning,
out to own on DVD/Blu-Ray now

DESPITE being a predictable and simplistic B-movie, Storm Warning is a visceral treat for 70s horror fans and has much to offer. It’s well directed and although it languishes early on, once you get past the “day for night” lens and the apparent lack of cash for this little gem, it is unexpectedly good. Director Jamie Blanks has had to put his faith in a little-known cast, but there’s an authenticity to the menacing roles and the lack of CGI is well-substituted with some good old fashioned blood and guts. Worth a watch but not for the squeamish.

WO2 Andy Draper, AGC

Joy Division,
in cinemas May 2

NOT content with the Ian Curtis biopic Control, the seminal 70s punk band gets a second screen credit with this candid documentary. Surviving members – Curtis killed himself in 1980 – recall their pre-New Order lives against a backdrop of archive film and soundtracks. The esoteric offerings spouted by one contributor and scattering of dodgy visual effects do not detract from a surprisingly good film. Joy Division fans can immerse themselves in a production that serves as a superb introduction to a band that still influences today’s music scene.

The Nines,
available on DVD now

THE Nines is a confusing but gripping movie that breaks down into three short films starring Ryan Reynolds (Van Wilder). All three films have the
same lead cast playing different yet interconnected parts in loosely related plots. In The Prisoner, Reynolds plays an actor under house arrest after a drugs bender goes wrong. Reality TV sees Reynolds as Gary, a television writer whose latest drama idea falls victim to the brutal world of networkTV. Finally, Knowing has Reynolds as a famous videogame designer who sufferscar problems deep in the forest. A promising idea but The Nines leaves you feeling frustrated. Disappointing.

LCpl Chris MacCallum, 242 MI Section, Int Corps

The Air I Breathe,
in cinemas now.

WRITER-DIRECTOR Jieho Lee crashed a Korean gangster film into a multi-narrative drama producing a 15-car pile-up that a fleet of fire engines couldn’t rescue. Brendan Fraser’s psychic henchman, Pleasure, plays the tenuous link between four short stories. But as he’s absent from the final vignette, the ropey dialogue provides the strongest common denominator. For the finale, Kevin Bacon’s deranged ER medic acts with even less credibility than the cast of Carry on Doctor. Stick to either an honest Asian actioner or spend the evening with one of Alejandro González I?árritu’s masterful multi-story films (Amores Perros, 21 Grams, Babel). Don’t tackle this disaster.