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Sports movies, with very few exceptions are usually dire fare, and football movies in particular tend to be nonsensical montages weaved around clichéd sub plots. "Goal !" doesn't entirely eradicate these problems but its does make a substantially better fist of it that any that have gone before. It has to be said that one of the most significant reasons for this considerable improvement was the choice of the hugely experienced Lucinda Syson as casting director. Kuno Becker in the lead role was a revelation, not only did he have the acting chops to cruise through the non-football segments but he was entirely plausible as a player, with the build and movement of a decent professional. Anna Friel was perfect as the Geordie love interest and one of the most pleasing performances in the movie was Marcel Iures as Newcastle manager, Erik Dornhelm. Iures' research for the role was obviously extensive and he came over as a perfect amalgam of Mourinho, Wenger and Eriksson, with his authority and intelligence to the fore every time he was on screen. A special mention also has go to Alessandro Nivola who I didn't know or recognise prior to watching the movie and it was only while browsing through DVD special features that I saw to my surprise that he was in fact, American. He had absolutely mastered the London accent and was entirely convincing as the over-paid, over-sexed Cockney wide-boy. To the plot and the action then, both of which were mostly satisfactory and often appealing but quite some way short of perfect. While it was at least remotely conceivable that an amateur player from the barrio could be spotted and coaxed to the U.K., it was after Munez' arrival in Newcastle that the contrivances happened a little too regularly, the most blatant being his overwhelming luck at being in the taxi that was called off course to pick up a wayward star and the second chance that came with that startling co-incidence. The football action was as convincing, in my opinion, as any "staged" football will ever get, and this was helped by weaving footage of the actors into genuine game tape, a process which, it has to be said, was done almost seamlessly and is unlikely to be bettered. In summary then, Danny Cannon has made a pleasing movie, with a great cast, that at long last does some justice to the world's biggest game. It's not perfect, but its fast, it's fun and for the most part, fairly convincing.

This may well be an accurate interpretation of one mans experience of Desert Shield / Storm but if that interpretation was little more than a random meandering of frustration, boredom and pent up aggression then, valid as these emotions may be, one wonders why it was deemed film worthy. One of the film's core issues did offer some interest , specifically the question, " how does a man who is trained to kill react when he is not offered the opportunity to put his training into practice"? The answer though was as deeply unsatisfying as it was trite. The answer, according to Marine Swofford, is childish tantrums and kitchen sink moralising. It was always going to take some delicate handling to find the precarious middle ground that exists between the gung ho soldier movie and the soul searching emotional exploration and , to this reviewers mind at least, Mendes has not even come close. Jarheads was loud, brash and noisy but, ultimately, had very little to say. We continue to wait then, for a gulf war movie that tells us something that we don't already know.

Lets be honest, Mike Leigh's films are not for everyone. No effort is made to make them commercially viable, the cast are almost always, largely unknown and certain scenes are so harrowing that even the strongest viewer can find themselves distressed and perturbed. While these factors keep some people away, they also keep many others coming back time and time again. Mike Leigh is quite simply, a national treasure. And I don't mean that in the same fluffy "Gawd Bless 'Em" manner that people applied to Thora Hird and the Queen Mother. I mean that he is simply one of the finest and most honest chroniclers of contemporary Britain that we have produced.

Make no mistake, the British have always enjoyed social realism. We can gauge that through that great yardstick of social self-perceptions, the soap opera. While the Americans produce soaps full of tanned, successful oil barons and their supermodel / actress mistresses, and the Australians show us their blue collar bungalow owners who like a beer with their mates and a barbecue on Sundays, the British make soaps full of characters who are little more than diluted, softened incarnations of Leigh's own subjects. People who work at checkouts and in launderettes, people who are trapped by poverty, alcoholism, violence and stifled or strangled ambition.

But through it all , there's a hope, an anticipation of a better day just around the corner and that's what makes these films ultimately uplifting. Leigh has always shown that no matter how dire the circumstances, how forlorn the existence, love and hope, friendship and family, will find a way to offer support, comfort and succor.

In achieving this, Leigh has the assistance of another of the U.K.'s finest - Timothy Spall. If ever an actor was capable of portraying at once the fragility, insecurity and yet the potential for sheer stubborn strength of the British psyche its Spall. His character in All or Nothing, Phil is an incredibly vulnerable man. A pensive, gentle man, trapped in his own doubts and in a world of people who react by lashing out, verbally or physically and so compounding his doubts and fear. He apologises constantly, and often appears to be apologising for simply existing. An under-educated but intellectual man he even apologises for having an extensive vocabulary, a character trait which Leigh uses cleverly but subtly by having Phil precede each "big word" with "wotsitsname". It appears that Phil is searching for the word, he isn't, he knows exactly what he's about to say but is reluctant to say it in case he appears educated or articulate. We hear Phil talk about destiny and saying "It's...wotsitsname..kismet". In a world of expletives and harsh words he's ashamed at his verbal dexterity viewing it as a weakness rather than a strength.

Devices such as these help us understand technically why Leigh is just such a good writer and the way in which these devices are performed help us understand why Leigh constantly looks to Spall to anchor his scripts with his marvelous humanity.

All or Nothing is a vicious, gut wrenching, graceful, uplifting gem of a movie from a master filmmaker. Its is performed by a marvelous leading man and a collection of wonderfully talented supporting actors. In a world of blockbusters and multi million dollar opening nights Mike Leigh continues to give us humanity, despair, courage and beauty. And do we ever need him.