At the end it is the same deadpan humor only one of the actors has the revelation that crime is not for him. He wants to follow the way of the holy book and even goes as far as quoted a bible passage with a loaded gun pointed at the face of robber whose heist was thwarted.

Tarantino the director, plays this convinced pissed off husband who doesn't want his relationship with the two thugs revealed to his wife who works the graveyard shift as a nurse. He enlisted Keitel to help the thugs eliminate the evidence of the dead body in a trunk. The car ends up in a used dealership lot, all miraculously cleaned up. Makes you think of other sideline activities car dealerships might get involved in when receiving used vehicles!

So there are lots of twists and turns in the film filled with the exaggerated seriousness between comic moments like the diner robbery at the end of the film that make this an example of what cinema could have incorporated in film all along. In my opinion the combination of humor and seriousness will large reflective moments that I described started a genre after the mid nineties.

Enjoying his resurgence in popularity onetime A-Lister Nick Stahl stars in this enticing movie about a semi paralysed radio journalist called Isaac, who is recovering from the breakup of his relationship with the delightfully named Rain. Unlucky in the new dating scene, with potential suitors finding it difficult to adjust to his disability; Isaac decides to cool off on the idea of love and focus on his work. It's at this point that he starts to receive requests from an anonymous e-mailer to the show, reporting that people are attending a hospital where for a fee surgeons will remove limbs. Intrigued and appalled by these claims Isaac investigates a strange culture where disability seems to be "cool".

It's at this seemingly unusual time that Isaac meets Fiona (Vera Farmiga) an able bodied woman who wants more than anything else to be paralysed from the waist down like Isaac, clinging to his disability she makes a momentous decision to come out about her illness (or fetish if you like), but it's at this time that Issac stumbles upon a pair of shoes that give him the ability to walk. As both Fiona and Isaac go on a journey, it seems that the search for the mysterious Ginger Jake holds the secret to their happiness.

Quid Pro Quo is a most unusual movie, it was nothing expected and staggers in a direction that nobody could assume it would. The movie weaves its way in a strange contrasting fashion with essences of David Cronenberg's Crash, and the best movies covering aspects of disability or addiction. You might think that a story that has aspects of limb removal in underhand methods is not your ideal family viewing, but believe me this is at times an incredibly touching movie that like other recent movies covers issues that are seldom addressed in the form of visual entertainment.

The focus on Isaac is incredibly well put together, looking at the way people in wheelchairs are discriminated upon, from issues of romance or down to the simple act of getting a cab. There is an awful lot of detail put into a short period of time that shows the plight of wheelchair bound people in an able bodied world. Despite the hardship however Isaac copes well with his lot, and to some degree seems far happier than the people that surround him.

A different dimension is added with the arrival of the flaky Fiona, a woman able bodied but desperately has the need to be disabled. Unlike Crash that focused on disability as fetish, Quid Pro Quo looks at this as an aspect of necessity in exactly the same way as a man want to be a woman or vice versa; who even dreamed that this sort of illness existed, but it actually does and according to a quick Google search is more common than you might ever believe. Through necessity or need if you like, there is a further dimension to Fiona, there is something hidden behind the already bizarre situation that never quite allows you the opportunity to warm to Fiona. While you feel sadness for Isaac, you feel more annoyed than anything else over Fiona. As the movie progresses this annoyance grows because her behaviour contrasts out of the unusual to the intolerable.

The most bizarre aspect of the movie however must rest in the magic shoes, while everything else in the movie is perfectly believable and stabilises you on the right side of clarity, out of the blue comes the magic shoes that provide the wearer with the power to walk. It's almost like we have veered off into Wizard Of Oz territory. Now don't go misunderstanding my views on this, the presence of the magic shoes does not weaken this movie, in fact it gives it some much needed elevation, and a further dimension for the story to take. For not only do the shoes effect the life of Isaac, but also of Fiona, and this forms the strongest aspect of the movies story; as does the final twist of the movie.

Nick Stahl performs remarkably well, but then he always has done; you have to ask what happened to Stahl the once touted "New River Phoenix" why did he fall from grace after signing on to lead the cast in HBO's Carnivale. Stahl you suspect has spent much time researching the lives of paralysis victims, so much so if it were not for knowledge of the actors past it would be easy to believe (up until he walks) that the actor was indeed paralysed. Farmiga on the other hand is a different kettle of fish, yes she acts well but struck me that she was going for a poor man's (or woman's in this case) Patricia Arquette. No matter how hard you might try its incredibly difficult to warm to Farmiga, or her character and her plight.

Quid Pro Quo is an interesting movie, that allows a great deal of thought; it is something that is most definitely worth a look.

1. Pride and Prejudice (Joe Wright, 2005)

   Now, I know this adaptation starring Keira Knightley has its enthusiastic fans, but I must admit I almost dropped the film from this list altogether. One of my closest friends would be appalled because she was completely entranced by Matthew Macfadyen as Mr. Darcy. I'm afraid that I found myself drifting off into reveries of Colin Firth frolicking about the countryside. I guess what I'm saying is that it just doesn't measure up to the intensity of feeling and attention to detail of the 1996 BBC version.

2. Pride and Prejudice (Robert Z. Leonard, 1940)

   This adaptation is absolutely dreadful in terms of fidelity to the plot. Jane Austen must have been rolling in her grave at how fast and loose MGM played with her novel. Book aside, this is a great movie to watch. Greer Garson and Maureen O'Sullivan are charming as Elizabeth and Jane Bennet, and Lawrence Olivier makes a very dashing Mr. Darcy. Mary Boland as Mrs. Bennet and Edna May Oliver as Lady Catherine de Bourgh will have you in absolute stitches.

3. Mansfield Park (David Giles, BBC, 1983)

   This film is doubly fascinating today, than it was when I saw it as a child because of all the movie connections. Sylvestra Le Touzel, who stars as Fanny here, plays Mrs. Allen in the most recent adaptation of Northanger Abbey, and Johnny Lee Miller, who stars in the 1999 film of Mansfield Park, has a bit part in this one. There are other crossover actors as well, but I leave that for you to discover yourselves!

4. Mansfield Park (Iain B. MacDonald, ITV, 2007)

   This ITV adaptation had the edge over the 1983 BBC version because the locations and cinematography were simply wonderfully done. My only criticism was the hair. Fanny Price's hair always looks un-brushed and she always wears it down… even after her "coming out" party. This is just historically wrong - it wasn't okay for grown women to wear their hair down until the early twentieth century! As for the men, poor Edmund looks like his head's been dipped in a vat of vegetable oil and Henry Crawford looks as though he hasn't had a haircut in years. The neglect of character appearance can really distract from one's enjoyment of the acting.

5. Emma (Douglas McGrath, 1996)

   McGrath's adaptation of Emma is a visual treat, but Gwyneth Paltow falls into the trap - so easy with Jane Austen heroines - of playing Emma a tad too superficially and turning her into a caricature. This is made glaringly evident in contrast to Jeremy Northam's smooth handling of Mr. Knightley. Toni Collette, Ewan McGregor, and especially Alan Cumming and Juliet Stevenson (whom I Truly, Madly, Deeply adore) make the film more comedy than romance, but they are also the reason I will watch this film again and again.

6. TIE: Sense and Sensibility (Ang Lee, 1995)
   Sense and Sensibility (John Alexander, BBC series, 2008)

   
   These two adaptations tie, for the first is a good movie, and the second is a faithful adaptation. It is difficult to adapt novels into feature films and Emma Thompson deserved her Oscar for this enjoyable romp. As much as I love Alan Rickman, he was much too old for his part and it spoiled the believability of the romance between Col. Brandon and Marianne for me. This year's BBC series (debuting March 30th on PBS) is truly a delight, and benefits from the extra time given for character development. The Devon coastline is spectacular and the cinematography is exquisitely done.

7. Northanger Abbey (Jon Jones, ITV, 2007)

   This novel is not adapted as often as the others due to the difficulties inherent in filming Catherine Morland's flights of fancy. ITV did a terrific job of capturing the mood and satire of the original novel, and Felicity Jones ensured that the character of Catherine avoided becoming a one-dimensional caricature.

8. TIE: Persuasion (Roger Michell, BBC, 1995)
   Persuasion (Adrian Shergold, ITV, 2007)

   I really could not make up my mind with these two adaptations. They both capture the tension between Anne Eliot and Captain Wentworth with its mixture of repressed passion and obligation to duty. Great viewing for a night in with your girlfriends and a nice hot cup of cocoa.

9. Mansfield Park (Patricia Rozema, 1999)

   Now many Jane-ites will disagree fervently with me for ranking this film so highly, but I think that it is brilliantly done. Rozema incorporates Edward Said's post-colonial critique of Mansfield Park into the film and is successful because of the brilliant performances by Harold Pinter, Frances O'Conner, and Johnny Lee Miller. Alessandro Nivola somehow managed the difficult task of transforming Henry Crawford from a mere cad into a man you know is bad for you but you find difficult to resist.

10. Pride and Prejudice (Simon Langton, BBC mini-series, 1995)

    Television seriess have the advantage of time over feature films. Screenwriters do not need to whittle down the plot so much, and the camera can indulge itself in the landscapes and beautiful old homes of southern England. Jennifer Ehle is radiant at Elizabeth, and the supporting cast ensure that each and every scene is memorable for its wit and charm. Of course, the real reason for this adaptation's success is the scene when Colin Firth as Darcy emerges dripping wet from a spontaneous dip in his pond. Millions of women around the world swooned and have never fully recovered themselves from this incident.

Honorable Mentions

• Bride and Prejudice (Gurinder Chadha, 2004)
• Clueless (Amy Heckerling, 1995)
• Bridget Jones' Diary (Sharon Maguire, 2001)
• The Jane Austen Book Club (Robin Swicord, 2007)

These four films get nods for being very clever adaptations of Jane Austen plots to contemporary settings. They didn't make into onto my top ten because although they may capture the spirit of Jane Austen, they cannot beat her for witty dialogue. Bride and Prejudice might not be for hard core Jane-ites but it is a brilliant concept: transferring the basic plot of Pride and Prejudice to Bollywood, complete with dance sequences and outlandish locations like a random Mexican restaurant.

Lately I've been reading reviews for the film "Control" (Anton Corbijn, 2007), which I had to absolute fortune to see at the Brisbane International Film Festival earlier this year. Reviewers tend to enjoy writing about the performance of Sam Riley, which was incredible, but rarely do they remark on the actual film. When Suzanne Baran reviews a new album she does not focus on the frontman or its producers, but on the entirety of the disc. Film journalists/critics should follow suit when reviewing films.

"Control" takes place in the UK and follows the quick rise and devastating fall of Joy Division's Ian Curtis. The film"Control", for me, carried an innumerable amount of soul as a rock film. It sets the bar high to a standard that hasn't been matched profoundly. One of the most incredible aspects of the film is the attention paid to providing context to songs Joy Division fans enjoy today. ”Love Will Tear Us Apart” always puts an ear-to-ear grin on my face despite my fluctuating moods . From the moment the first guitar strums, to the introduction of core grabbing synthesizers -- it hooks me. And it has since the first time I heard it back in 1980-whatever. The film's soundtrack echoes these sentiments. It provides insight into the emotional circumstances of the protagonists, and acts as character of equal importance to the films subjects - . It could even be considered one of the film's characters - albeit audio, not visual.

I've read myriad times that the black and white photography was represented music photojournalism at the time. If you were not a huge selling mega-band of the late 1970s early 1980s, your publicity photos were typically processed in black and white. Staying true to this tradition, the photography adds a hauntingly delicate edge to the film that maintains a certain amount of integrity and balance. This is demonstrated throughout the film, but it was especially exquisite in a number of scenes.

As the camera follows Ian Curtis' character walking down the street to "No Love Lost" blaring in the background, the viewer starts to comprehend the conflicts facing our tormented hero. As the camera pulls back, we learn he's going to work… the word “hate” is etched his back. It's assumed that Ian is battling between the conformist life of a traditional 9 to 5er and the occupation he chose. The soundtrack provides a sense of ambivalence, and this contradiction between responsibility and self carries forward throughout the narrative. It's a significant testimony to Sam's depiction of Ian Curtis.

In a later scene it's evident how detached the character has become from himself. When his daughter is born, we see Ian distance himself - he sits on the stoop of his house and inhales a cigarette. Internalized anguish resonates throughout his persona, but he remains seated in slow motion, contrasting the high speed action behind him. It is these moments of cinematic excellence that invites audiences into the prevalent withdrawal and pressure. One of the things that is absolutely beautiful about the film is the "family affair" aspect. "Control" is based on Deborah Curtis' book, and the soundtrack features songs by New Order. Its director, Anton Corbijn was with Joy Division since their early stages, taking photos and shooting videos. This is truly intimate authenticity. The amount of heart this film has resonates long after the curtains close. (beautiful!) As I was leaving the screening with my professor-turned-friend, it was astounding - I couldn't see many dry eyes. .

There really is no way to avoid discussion about quality of acting Sam Riley was exceptionally well casted. But I question whether he would have pulled it off without the inclusion of such an amazing cast. Samantha Morton equally deserves a large dose of recognition for her portrayal of Deborah. She added that perfect sense of ying to Sam Riley's yang. Another honourable mention is Harry Treadaway. I realize that his role was quite insignificant, but for those of you who have seen Brothers of the Head (Keith Fulton and Louis Pepe, 2005) you will remember the incredible performance of the Treadaway twins as the conjoined glam-punk superstar twins. If you haven't seen it, check it out.

I feel very confident in saying that "Control" is one of the year's best films and that I wouldn't not be surprised shocked if a whole new generation of Joy Division fans were born in the same way new Dylan fans popped up after see Don't Look Back (D. A. Pennebaker, 1967), or the fresh crop of Beatles fans after Hard Days Night (Richard Lester, 1964);. And/or let's not forget the mushrooming of new Rolling Stones followers after watching Gimme Shelter's release (Albert Maysles & David Maysles, 1970). Long live the memory and music of Ian Curtis and Joy Division and many thanks to production team of "Control", and to The Big Take Over for allowing me to my collaboration with Suzanne Baran..

Does this make me sound schizophrenic?

Do you think it was a choice? I just sort of felt that he was subconsciously directed into that position? Like a natural flow of events.