Harrison Ford is probably one of the most prolific sci-fi actors in history. Known best for playing Han Solo in the original Star Wars trilogy, he seems perfectly geared towards taking up the role of the commander of a Battle School, where young humans are trained to become hardened warriors. Not quite the roguish smuggler of Star Wars, or Blade Runner‘s Rick Deckard, but definitely a role he’ll relish, having taken slightly more serious and responsible characters on board in later years – Cowboys and Aliens featuring a particularly good example.

As a film, it’s shaping up to be something special, with Ben Kingsley, Asa Butterfield and a wealth of acting talent turning their skills towards bringing the novel to the big screen. All that remains is the classic “did they do the book justice” dilemma that propels fan conversation to angry heights on a regular basis – Akira fans, here’s looking at you (although I’d say you’re justified – if Ender’s Game sounded as bad as the new Akira, it’d be set in MacDonald’s). More on this as it comes.

Most films based around the Second World War, and more specifically the Nazi regime, tend to go down the gung-ho route. Heroic soldiers charging across the battlefield. Nuns stripping a Nazi vehicle’s engine to help escaping Von Trapp children. Guns and glory are the modus operandi of historical cinema focusing on the decade that saw the most harrowing conflict in recent human history.

War of Resistance (also known as Return to the Hiding Place, if you’re attempting to Google it with no luck) charts the story of Hans (David Thomas Jenkins), a member of a student body in Holland who, along with his fellow classmates, initiates a rebellion against the Nazi forces sweeping across Europe, some of whom proceeding to ‘remove’ perceived undesirables from their teaching posts. Much of the film’s story and historical events are taken from The Hiding Place, the autobiography of Corrie ten Boom (portrayed by the talented and amusing Mimi Sagadin), a Holocaust survivor who was instrumental to the survival of many Jewish citizens in Holland.

Most of the principal characters share similar motivations, they are all inherently noble, decent and, to some extent, somewhat lacking in human qualities as a result. The constant optimism and occasional L’Oreal-advert locks of Hans and his student cohorts swinging in the wind gives the film a poetic if somewhat unrealistic feel at times, along with copious uses of bloom and sunny countryside.

Despite this, I found myself drawn into the world that director, producer and writer Peter C. Spencer has built, primarily because he’s opted for a more behind-the-scenes look at the carnage of the Thirties and Forties. Resistance creates a more subtle sense of menace and danger as the cast sneak though houses and attend clandestine meetings where they forgo kosher meals in order to eat and survive. Sacrifice and focus are the order of the day here, and this turns an average film into one that will capture the imagination of anyone who considers themselves passionately interested in WW2 cinema.

There are some haunting scenes, and one scene in particular that uses an animal to depict Jews, with Nazis symbolically exterminating them as an officer overseas with the icy detachment of a psychopath. There’s no holding back, here – Spencer stops at nothing to highlight the many sadistic aspects of the Nazi regime, from alleged paedophilia to the murder of those with disabilities.

It’s charted throughout by the work of the resistance, forming an organised journalistic outfit who document the every move of the Nazi regime in their area of Holland, risking life and limb to ensure that nothing goes unseen, and nothing is hidden from the public. This is no Diary of Anne Frank, however – her attic-world is somewhat more scaled down, and her inquisitive and youthful mind offers a sole perspective on the conflict rather than the depth and breadth offered here. The scale of what is happening is clear on many levels, the small band of rebels are also not hiding behind a secret door, and it rarely feels like it either.

John Rhys Davies is a highlight, bringing the sound acting abilities, seen in Indiana Jones and Lord of the Rings, to bear as a local Jewish man who embodies the righteous indignation of the proud individual who backs down to no one. Although his accent isn’t completely flawless (think Gerard Butler in 300), he channels the rage of his character in a way that I found refreshing, as it cancels out a few of the countless Jews-in-hiding stereotypes I’ll label as “Hollywood helpless.” The situation breaks him eventually, and it’s a sorrowful moment when it does.

The acting is sound across the board, and it wouldn’t be surprising to see some of the cast appearing in more prominent roles in Hollywood productions. There’s a lot of potential for ‘in-depth, guerrilla journalism’ approaches to major historical events, and Spencer draws the audience in by mixing horror-genre tension with the horrific acts committed by the Nazis. A great thriller for those who love action, history, and a grittily realistic approach to topics that need no Hollywood gloss.

Reboots are common, but there are certain films that it’s best not to touch. Die Hard, Indiana Jones, The Godfather, Star Wars, oh, and Jurassic Park. The reason you don’t reboot these franchises is because they are fine as they are.

It’s not the X-Men franchise, where the films are decent but could be easily remade and improved on – the Jurassic Park films are legendary, and most especially the first two (similar to Terminator, another untouchable franchise… well, it used to be). So to remake them runs the risk of a giant like Spielberg effectively trampling all over his own work in favour of a film that won’t be guaranteed to inspire the same amount of awe, terror and excitement that the original films managed in spades.

Nothing’s set in stone at present; nothing ever is, when it comes to remakes and reboots, as the controversy of committing to something so blasphemous usually renders the project inert after a few short months. Then again, it’s not a new rumour, the web tells me, but Spielberg’s direct involvement with the project lends it a worrying level of credibility. More on this as it develops.

Perhaps I’ve been exposed to a disproportionate number of French art-house films, or perhaps it was because the only image I’d previously seen of Louise Bourgoin’s Adèle was that of her stood semi-naked, head-tilted, sexily smoking her French cigarettes. Either way, I was not expecting, or prepared for the full-on fantasy adventure film that is The Extraordinary Adventures of Adèle Blanc-Sec.

It’s closest comparison within French cinema is, perhaps, the whimsical comedy Amélie, but really, this film is far more likely to receive comparisons with the likes of The Mummy, and even Indiana Jones. Besson himself has reportedly compared the character of Adèle to being like ‘Lara Croft’s grandmother’ – a tough role to fill, perhaps, but it’s hard to imagine anyone doing a better job than Bourgoin.

The character is certainly well-written: a convention-breaking reporter, determined and warm-hearted. Yet it is Bourgoin’s comic timing and charm which make her so captivating to watch. She’s ladylike and aloof in her elaborate early-twentieth century attire, whilst happily embracing the script’s various opportunities to don a fat-suit or a moustache. It is perhaps worth mentioning the fact that Besson has previously been credited with discovering actresses such as Natalie Portman (Leon) and Milla Jovovich (The Fifth Element). This might not be Bourgoin’s first appearance on the big screen (she starred in the 2008 film, The Girl from Monaco) – but could it be that the director has found his latest muse?

However, despite Bourgoin’s near-perfect performance, the film as a whole is not without it’s flaws. For a start, it’s hard to in pinpoint quite who’s supposed to be watching it. With farcical policemen hunting an pterodactyl, whilst a Egyptian Pharaoh’s mummified doctor is accidentally brought back to life, it’s a comedy of errors which is almost certainly aimed at children.

Yet there’s a far more morbid side to this tale. We see Adèle cheerily painting the cheeks of her sister who is, arguably, dead – or at least in a fairly severe coma. Her character is also deliberately provocative at times; stripping naked and flirting with a mummified corpse, knocking back shots of whisky by herself, and smoking a melancholy cigarette in the bath. Besson’s been known to dabble in a variety of genres in the past, but this blurring of audience demographics fails to work in this film’s favour.

The film’s other characters are good, fine,  but ultimately without depth. Mathieu Amalric stars as Adèle’s nemesis, Dieuleveut, although you’d never recognise him, and Nicolas Giraud (who also starred in Besson’s action thriller, Taken), is endearing as Adèle’s almost-love-interest. However, it is within the supporting cast that you become more aware of this film’s origins. The Extraordinary Adventures… is based upon the Franco-Belgian comics series of the same name by artist Jacques Tardi and, unfortunately, these slapstick caricatures become a little tiresome towards the end of the film.

Ultimately, The Extraordinary Adventures… has a somewhat dubious plot, with an amusing script and an extraordinary actress. If you can buy into the more than slightly convoluted narrative (and I certainly suggest that you try…), then it’s thoroughly enjoyable. I wouldn’t hesitate in recommending this film, I’m just not sure who to.

For those waiting for the film to start filming in New Zealand and wondering what Ford’s going to get up to next, this likely comes as exciting news. For those wondering how they’re planning on eventually writing the good professor’s swan-song, this might also be a clue. I have a feeling whatever he finds in this Triangle is going to involve something rather odd and quite unrelated to the objects and mythological themes of the first three films – as the last film contained SPOILER aliens hiding in a Mayan temple SPOILER and hacked off a lot of Indy fans.

That being said, this might turn out to be his last outing, as leaks are hinting at this being an emotional conclusion to a decades-long career of jumping from car to car, nearly falling off cliffs and finding mythical treasures. Oh, and that bloke’s melting face, that was great, too. CGI is probably a given, along with lost ships and people from hundreds of years of sailing still drifting around in the odd, probably time-warped area of the Bermuda seas. It should also be a chance to see what they’re thinking of doing with Shia LeBouf’s character, as there’ve been hints at him taking up the mantle. If you’re like us, you’re hoping the plucky young lad doesn’t get saddled with a franchise ruined by an odd narrative choice last time around.

It’ll be interesting, at least – let’s just hope the plot doesn’t get as lost as their transport into Triangle will.

“Steve [Spielberg] just said that he cracked the story on it, and I think they’re gearing that up,” LaBeouf has told the press, although he avoiding giving away too much on the extent of his role after rumours began circulating that director Steven Spielberg planned to continue the franchise without Ford.

Ford’s aging archaeologist might be close to becoming a museum-piece himself, but something tells me he’s not about to retire just yet…