Another year, another Hollywood blockbuster featuring Nicholas Cage. 2004 produced the lacklustre ‘National Treasure’ and 2003 churned out the slightly better ‘Matchstick Men’, so surely Lord of War was destined to follow a similar mediocre path right from the start? Wrong. Lord of War is the film that reminds us why we keep flocking back to cinema’s to see Mr Cage strut his stuff, time and time again. As well as Cage’s comeback flick, this film could also be named as Niccol’s mainstream directorial breakthrough due to the fact that his previous efforts (S1m0ne and Gattaca), despite being fairly good, never got the global coverage they deserved.

Another year, another Hollywood blockbuster featuring Nicholas Cage. 2004 produced the lacklustre ‘National Treasure’ and 2003 churned out the slightly better ‘Matchstick Men’, so surely Lord of War was destined to follow a similar mediocre path right from the start? Wrong. Lord of War is the film that reminds us why we keep flocking back to cinema’s to see Mr Cage strut his stuff, time and time again. As well as Cage’s comeback flick, this film could also be named as Niccol’s mainstream directorial breakthrough due to the fact that his previous efforts (S1m0ne and Gattaca), despite being fairly good, never got the global coverage they deserved.

“Your hand is so soft Nick”

Cage stars as Yuri Orlov, a Ukrainian immigrant growing up in early 80’s New York; Lord of War follows his pursuit of the high life via the dangerous, but glamorously presented world of arms dealing. His ascent from bland mediocrity to international renown is not without its perks, as Orlov gains a family and riches beyond his wildest dreams; but similarly there are downsides because as Orlov goes about his daily business, an over zealous Interpol agent pursues him and plots his downfall. Lord of War’s basic premise allows for an intriguing and gripping chain of events which will keep you more interested in what’s on the screen rather than what you’re munching on (which is all to common these days when stepping into the domain of the Hollywood blockbuster).

The fundamental manifestation of Lord of War tells a story of a man discontent with an average life, Yuri wants the life he feels he deserves, which unsurprisingly happens to follow an obstinately luxurious route. But under the surface lies an emotional struggle involving two very head-to-head subjects, ethics and greed. We can easy relate to and empathize with Orlov and his situation (on a somewhat smaller scale, hopefully) because even though he is becoming rich and powerful, he is still doing something wrong for incredibly selfish reasons.

“I’m not joking, I consented to be in From Hell“

But a man cannot have everything, which Yuri quickly finds out as he increasingly has to choose between his family and his job. His brother Vitaly (Jared Leto), who used to be an equal partner in the “business” deteriorates into a needy drug addict (a habit which he picked up thanks to the gun running), which Leto plays very well as he did in Requiem for a Dream. Equally dependent, but more important is Yuri’s wife and child, both of them live their lives oblivious as to how Yuri obtains the money that gives them such rich lives. And as you may have already guessed, lie’s lead to trouble.

Despite your conscience firmly pointing itself in the opposite direction, you feel attracted to Orlov’s lifestyle and will end up rooting for him over the clearly ‘in-the-right’ Interpol agent, who is played by the suitably tempered Ethan Hawke. Orlov’s sly evasive tactics and unmatched cunning allows for an entertaining dog and cat chase, which actually ends with a slightly disappointing whimper.

Casting Cage as Orlov was a decision that made this film; his performance is excellent and supersedes anything he has done over the past few years. Suave, sophisticated and calm is something that Cage does very well, especially when supported by such talented supporting actors (Ian Holm, Jared Leto, Bridget Moynahan). If it wasn’t for the muted ending, Lord of War could have made more of an impact on 2005’s audiences, despite the obvious underlying political lecture running alongside the main storyline. It marks a brief foray into the realm of, “let’s do a film on real issues and let’s do it well”, the executives must have been on drugs that day.

7/10