When I first saw the trailer for Eastern Promises, I was a little confused. Yes, A History of Violence was a complete turnaround style picture for David Cronenberg (whose previous films include the most twistedly eccentric visions of horrendously graphic violence and overtly over sexualized human beings and monsters),but I had not expected that he would continue down the path of the "independent mainstream". I was a little hesitant to see it at first, but gradually the trailer's imagery drew me in. And now I can say there really is a reason for the Oscar buzz.

There really is no way to perfectly describe Eastern Promises without giving a few juicy details away. It revolves around a Russian crime circuit in London, headed by Semyon (Armin Mueller-Stahl),and includes his son Kirill (Vincent Cassel) and Kirill's driver Nikolai (Viggo Mortensen). Anna (Naomi Watts),a midwife, gets involved within the circuit unknowingly when she attempts to get a diary, recently left by a teenage mother who died during childbirth, translated from Russian into English.

The plot is really not that complicated, but giving a full description ruins the little idiosyncrasies and poignant character moments shared within the film. Oscar-nominee Steve Knight has constructed a gritty, atmospheric thriller that starts up quick and then slows down to a nice steady pace, just so the audience can catch its breath and brood over the workings of the cast. It is dialogue driven, but when it is not being sly or darkly comedic, it plays out like an opera. We gradually learn all the intimate details of every sketchy character, and we get a deeper sense of just how bad some of these characters are. It is not just a paint-by-numbers depiction of bad men, it is a highly detailed and clearly articulate character study. And even at its dullest moments, it works excellently.

Kudos also goes to Cronenberg's go to cinematographer, Peter Suschitsky. London and its drab and depressing climate are beautifully represented here from the first frame, all the way up to the last. Even when the sun is out, the sets have a certain subdued haze over them. We are watching a film about the criminal underbelly, and its settings help reflected just how low these people are in their moral standings. It works greatly in favour of the film, and it almost works as a character in itself. The drab, almost noir, settings help achieve the dirty politics of the film, and they help explore the character studies even further. Whether it's the scariness of watching Mortensen in the dark, or just looking at the glare of Mueller-Stahl in his dimmed restaurant, all of the details have been amped up on each set to give the audience a greater sense of understanding and purpose, for just about every character.

And what Cronenberg film would be without some bizarrely violent visuals? While not exactly a bloodbath, Cronenberg does have a few moments where he paints the screen a bright shade of scarlet red. And when it begins to flow, there is nothing that can really stop it. It works much in the same way as it did in Violence, in that the film builds to a scene loaded with it and just lets loose in a ferocious manner unlike any well-known director currently working in the mainstream on movies that are not specifically horror (with obvious exceptions to Quentin Tarantino and Robert Rodriguez). It has that Cronenbergian touch, and much like his other films, its style is impeccable and thought-provoking.

Another fantastic element is the score by Howard Shore. It slows when it needs to, and it quickens even faster. It plays out wonderfully throughout the scenes, and gives them a sort of classy feel. I realize I used the opera description before, but it fits even better here. Its great workings underpin every scene, and help dictate just how well off the film is.

What hurts the film (besides some very bizarre choices by Watts' character) is the denouement. It works, but I just cannot fathom how neither Knight nor Cronenberg thought it was appropriate for the story that was taking place. It just does not have the solid impact that every other scene either has, or builds to. I sat, almost dumbfounded, trying to figure out who thought it was a good idea, and why no one told them to re-write it. But I will say, much like Violence, Promises has an absolutely stunning final moment. But to get to that astounding moment, you have to sit through a rather disappointing finale.

If you thought you had seen Mortensen's best work before Promises, then you will be in for a very big surprise. His cold and calculating performance as Nikolai is the stuff that creates legends. He is menacing from the word go, and even as the enigmatic slowly becomes the well-known, you will just stare in fear and awe as he speaks on screen. From the terrifying tattoos, to a small character moment where he puts out a cigarette on his tongue, Mortensen is the quintessential image of evil. His unrestrained anger is felt throughout the film, and hopefully, will be just the right performance to launch him into the stratosphere of Oscar-nominated actors. Even during the let-down of an ending, he keeps up, and never lets anyone down.

The rest of the cast, albeit nowhere near as strong as Mortensen, are all very good supporting characters. Watts' character may have issues, but she breathes a certain life into the naïve character that I doubt many others could match. Much the same goes for Cassel and Mueller-Stahl, who bring just the right amount of intensity to their roles.

Although it is flawed, Cronenberg has delivered yet another exceptional thriller. It will surely be recognized at Oscar time, and for good reason too. Do not miss it.

8.5/10.

David Cronenberg is up there to me as one of the most unique and most fascinating directors out there. Not many other directors explore challenging and complex themes in a way that really gets under the skin, disturbing the viewer and making them feel uncomfortable. If anybody does feel that, that's a good thing as that is what Cronenberg and his films aim to do and to me it has seldom gotten excessive. Have also gotten a lot of dark wit and especially emotion from his films (especially 'The Fly'),which makes his work much more than full on body horror.

'Eastern Promises' is a very different film from Cronenberg's early work from the 70s and 80s, being a thriller whereas much of his early work was horror, though 'The Fly' onwards did see a more dramatic edge. And also exploring the very much completely different subject of violence and identity, which he also did in his previous effort 'A History of Violence'. To me, this is one of the best of his later films (by quite some way actually) and also one of his best overall. It's one of his more mature films but at the same time like 'The Fly' and 'Dead Ringers', two other favourites fo his, it's one of his more accessible. This is coming from somebody who likes to loves much of his work, though am not going to say that every film of his is good ('Cosmopolis' being one of his more notable disappointments, from personal opinion) and there are films that fit in my "appreciated and admired" category than "love and enjoy" one.

My only criticism for 'Eastern Promises' is the ending, which did feel abrupt and its tone and how too easily resolved it is felt like it belonged in a different film. It should strictly speaking have been the most exciting scene, but the film just fizzled out just like that, a shame.

However, 'Eastern Promises' looks great, loved the locations which were just as threatening as the characters and there is plenty of atmosphere in the grimy yet still audacious photography from Cronenberg regular Peter Suschitzky. Another Cronenberg regular penned the music score, Howard Shore's score here is thrillingly dramatic without being over-bearing and another case of a non-human character feeling like a character of its own, so much of an impact it makes. Felt no clinical coldness from Cronenberg, instead it's ambitious and pulls no punches which adds hugely to the unsettlement.

The script is thought-provoking and lean enough without much, if at all, of a padded feel. The switch between languages was not a problem here, never confused me and actually found it authentic, and never has been a problem in film. It is something that is seen frequently in film for authenticity reasons and rightly so. The story is up until the ending very gripping and drips with intensity with the distinctive effectively stomach-churning Cronenberg visual touches. Other than a disturbing opening, the film's highlight is the turkish baths sequence which is astonishingly choreographed and uncompromisingly brutal. The pace didn't feel too fast or too slow, and the characters interest.

Viggo Mortensen is just captivating here and gives one of his best performances in a chillingly calculating fashion. He does a decent stab at the accent, which is not an easy accent to master without overdoing or stereotyping and to me he did neither, and he is not too shabby at all (quite the opposite) at speaking in Russian, again not an easy language to master with so many rules regarding all the different vowels and hard and soft signs. Vincent Cassel is the same in providing one of his best performances, don't think he has been better actually, while Armin Mueller-Stahl is suitably sinister. Naomi Watts' role is not as meaty but she still gives a thoughtful performance and Sinead Cusack does much with her short appearance.

Concluding, a great film. 9/10

Ever since the '70s, David Cronenberg has been an edgy, unconventional director whose unflinching forays into the worlds of horror, body deformity and sexuality have garnered him a loyal fan base and rave reviews. In recent years, he's moved away from more outlandish fare to focus on gritty, realistic thrillers. After the success of 2005's A HISTORY OF VIOLENCE, he returns with this London-set thriller which explores the world of the Russian mafia, specifically through the tattoos worn by members which really do reveal their lifetime achievements.

In essence this is Viggo Mortensen's film – after he did so well in HISTORY I didn't think he'd be able to top that performance, but he does and in spades. He makes his cold, calculating driver into a human being with hidden depths and it's one of those performances that you simply can't avert your eyes from. Cronenberg strives for a look at the 'truth' in this thriller; at first I thought it was going to be a revenge-style picture but in the end it's entirely unpredictable, with different strands for different lives mingling together.

The subject matter is understandably dark, but to help us through there are some great performers here – Naomi Watts, so much better than in KING KONG, as the investigative midwife; Armin Mueller-Stahl as the grandiose mob boss, and finally Vincent Cassel as yet another creepy perverted type. Cronenberg moves away from the visceral even further, although the brief bursts of violence are here as disturbing as ever – there are slit throats to rival SWEENEY TODD and a naked bathhouse battle with plenty of eye-opening moments. EASTERN PROMISES is undeniably the director's most mature movie to date, and it's a brilliant one too.