LONDON FIELDS: Matthew Cullen and Roberta Hanley's adaptation of Martin Amis' novel. Or is it producer Chris Hanley's cut?

At this point in her career, the very beautiful actress Amber Heard is probably best known for her seven-year, off-and-on relationship with the notorious Johnny Depp, as well as for playing gorgeous femme fatales, and for getting involved with movies that end up in lawsuit-land, sometimes remaining in limbo for years -- as did All the Boys Love Mandy Lane and now the finally-released-theatrically-after-three-years-on-the-shelf, LONDON FIELDS.

The film-- it premiered a few years back at the Toronto film festival -- was not well-received, resulting in a nasty disagreement between director (Matthew Cullen) and producer (Chris Hanley). TrustMovies is not quite sure of what that result actually is. He also does not know if the streaming link for the film he recently viewed (which was nearly one quarter-hour shorter than the running time listed for the film on the IMDB, the soundtrack of which was not quite in sync with the lip-movements for about half of the film) was the Toronto cut or something quite else.

Not having read the original novel by Martin Amis, I can't compare the film to it. On its own merits (or demerits), this version seems to have a very "writerly" screenplay/dialog (by Roberta Hanley, the producer's wife, courtesy, I am guessing, of Mr. Amis), some of which is rather fun. It is classily photographed (Guillermo Navarro), and its plot -- about a beautiful young woman juggling at least three different lovers who is said to be clairvoyant and thus foresees her own death -- is certainly serviceable.

Yet the result, as seen here, is too heavy-handed by half, and even unnecessarily repetitive. In the leading role, the gorgeous Ms Heard is an eyeful and fun to view, whether in her "demise" dress (two photos above) or her skivvies (just above) or playing a bespectacled caseworker (below). She makes a believable femme fatale in all her several forms.

As the satellite fellows who circle round her, Billy Bob Thornton (below, left) proves the most interesting, playing the writer who intends to use her story as entryway to a best-selling novel.

Jim Sturgess (below, right) and Theo James (below, left) complete the trio. Mr. Sturgess, who more often plays sensitive types, here appears in uber-crass mode, and unfortunately the screenplay does not allow him to be be anything more. Mr. James is, as usual, handsome, hot and hunky, even if his character is also a bit too one-note. (The character does have a very amusing, if scary, young son.)

The ubiquitous Mr. Depp (below) makes what I am told is an uncredited appearance in what is a quite large supporting role, while Jason Issacs appears briefly as a famous writer, the London flat of whom Billy Bob has traded for his own Hell's Kitchen apartment. (Do stay around for the final sequence in which we note, via a comic literary television interview, the lengths to which a writer will go to achieve a new success.) There is some satire here, and some of it is fairly funny, though I feel certain that the novel, as is usually the case, is a good deal better.

All told, the film is pretty (sometime very), campy (probably unintentionally) and rather dumb fun. Whoever gets the credit for what we see here, I have experienced a lot worse times at the movies and, I wager, so will you.

From GVN Releasing and running 105 minutes, London Fields opens theatrically nationwide this Friday. October 26. In New York City it plays the AMC Empire 25, and in the Los Angeles area it opens all over the place, including Laemmles' Monica Film Center and the Cinemark 18 & HD in L.A. proper. Here in South Florida look for it at AMC's Aventura 24, Sunset Place 24, Indian River 24 and CityPlace 20, and at the Cinepolis Grove 14.  To see all currently playdates, cities and theaters around the country, click here.

Nifty/violent/old-fashioned/new-fangled fun: David Grovic's colorful neo-noir, THE BAG MAN

What fun is this -- a real movie-movie that fairly screams neo-noir, yet with a color palette never seen in any noir (at least since Leave Her to Heaven, and this one's much more day-glo-ish); has a tight 'n twisty plot involving trust, betrayal, and what's-in-that-bag; and features a cast to die for, including some first-class "known quantities" working at or near their best, along with some newer-and-not-so-known performers who shine as brightly as do those "stars." THE BAG MAN -- directed by David Grovic and co-written by him, along with Paul Conway, from an original screenplay by actor James Russo, all of whom I gather were inspired by a story called The Cat by Marie-Louise von Franz -- is absolutely as fast-moving and entertaining a movie as you could ask for.

Mr. Grovic, shown at left, breaks his film into three very clear sections. The first (the set-up) and the last (the denouement) are short and sweet. The very long middle section, which houses the twisty plot and climax, is full to the brim with surprise, shock and suspense, along with some dark comedy, a little irony, mega-violence and a high body count but not, thankfully, much undue blood and gore (we see what we have to, but the filmmaker doesn't revel in it, Tarantino-style). Instead, the creative staff does a kind of homage to that cool/hot style of Hollywood noir.

They must love those old movies, for they honor them well, while also using the current tricks-of-the-trade to make their movie move speedily and friskily. Just take a gander at the tacky, broken-down motel with its neon sign and garish, moody lighting, as our maybe-hero and maybe-heroine, stand around bickering and bantering. Yet the movie-makers are also smart enough to ensure that their plot thickens and quickens, delivering plenty of excitement and simmering sexuality to keep us on our marks -- and the characters on theirs.

Details of that plot are best left for you to peruse as the movie rolls along, but  I do have to recommend that you at the very least hang on until a certain scene unfurls -- an original if I've ever seen one. It takes place in and around a car, and although that car finally gets moving, this is not -- thankfully -- a car chase. Instead it's something original: swift, shocking, funny and riveting. Though there's plenty more good stuff, before and after, I must recommend The Bag Man for this singular, hold-your-breath scene alone.

Grovic has cast his film interestingly and well. In one of the lead roles is John Cusack (above, left), an actor who's been working a lot lately, turning in excellent performances, even in movies that were not always first-rate, as is this one. As his leading lady, we have an actress -- Rebecca Da Costa (above, right) -- who has made a few films so far, all unseen by me. I hope this movie sets Ms Da Costa on the fast track because she gives it her all, and that turns out to be quite a lot. Sexy, smart, devious and appealing, she's just about everything a neo-noir heroine/femme fatale should be. She and Cusack work together wonderfully well.

In the third role is an old friend of moviegoers, Robert De Niro (above), who has often been accused over the past decade or so, of phoning in certain performances. Well, the actor is so good here -- specific, resonant, charismatic -- that if you didn't already know who he was, you'd come out of this movie raving, "That guy's gonna be a star!"

In smaller roles, everyone shines -- from the always-fun Crispin Glover (wheelchair-bound, four photos up) as the motel manager to Dominic Purcell (above) as a local cop, Martin Klebba as a tiny-but-naughty henchman, and Sticky Fingaz -- the typing of whose ridiculous name makes my own fingers wince. (If it's going to Fingaz instead of fingers, oughtn't it also be Stickee instead of Sticky? Well, it's all too schticky.) In any case, Mr. Fingaz turns in a good performance, as well.

I may be over-rating this piece of toss-away entertainment. But, damn, The Bag Man is so entertaining (and so smart in so many ways) that it deserves an extra accolade. Consider the above exactly that.

The movie -- another good one from Cinedigm -- opens this Friday, February 28, at AMC theaters all around the country in fifteen cities. Here in NYC, it'll play at the AMC Empire 25. In Los Angeles, you'll find it at the Universal Citywalk Stadium 19. It will also play Atlanta, Boston, Chicago, Dallas, Denver, Detroit, Houston, Miami, Minneapolis, Philadelphia, Phoenix, Tampa and Washington DC. Consult your local listings in those cities to find the particular AMC theater.