In Monroe, Tennessee, Hank Deerfield, an aging warrior, gets a call that his son, just back from 18 months’ fighting in Iraq, is missing from his base. Hank drives to Fort Rudd, New Mexico, to search. Within a day, the charred and dismembered body of his son is found on the outskirts of town. Deerfield pushes himself into the investigation, marked by jurisdictional antagonism between the Army and local police. Working mostly with a new detective, Emily Sanders, Hank seems to close in on what happened. Major smuggling? A drug deal gone awry? Credit card slips, some photographs, and video clips from Iraq may hold the key. If Hank gets to the truth, what will it tell him? Written by {jhailey@hotmail.com}

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What you’ve heard is true. The last 30 minutes of The Kingdom are incredibly intense. Bullets fly at a frantic pace and director Peter Berg’s in your face style and fast cutting put you in the center of the action. The final shootout is so realistic you may feel the need to bob and weave away from the bullets, even though you know you’re sitting safely in a darkened theater and it’s just a movie. Feel free to dodge away.

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This film charts the rise and fall of Yuri Orlov, from his early days in the early 1980s in Little Odessa, selling guns to mobsters in his local neighbourhood, through to his ascension through the decade of excess and indulgence into the early 90s, where he forms a business partnership with an African warlord and his psychotic son. The film also charts his relationship through the years with his younger brother, his marriage to a famous model, his relentless pursuit by a determined federal agent and his inner demons that sway between his drive for success and the immorality of what he does. Written by davidgraham83@hotmail.co.uk

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Pick your own tagline for this one. My suggestions: “Beyond Boredom” or “Beyond Belief” or “Why Isn’t There Anything Entertaining About This Movie?” or “Clive Owen is Great But…” or “A Love Story Without Chemistry.” I could go on and on.

What starts out with an interesting premise quickly deteriorates into a cockeyed political statement. If you support the humanitarian work prominently featured in “Beyond Borders,” you’ll be disappointed in how Hollywood has taken an important program and screwed around with its basic mission statement.

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