Hannibal (Ulliel) has survived the horrific experiences of WWII Lithuania: abused by Nazis, Russians and local mercenaries, especially a group of five thugs (Ifans, McKidd, Brake, Walters and Marevitch) who terrorised him as a young boy (Thomas) and murdered his little sister (Tachovska). Now in France, studying medicine and reunited with his last living relative, a Japanese aunt (Gong), he sets out to find the men who ruined his life. But a local police inspector (West) is on his trail.

Director Webber (Girl With a Pearl Earring) loads the screen with stylish images, including a grainy sheen that gives the film a superbly European tone. Meanwhile, writer Harris adapts his own novel, loading the plot with bullies, collaborators, killers and manipulators, as well as buckets of operatic grisliness, much of which is gratuitous and sadistic. There are also frequent visual and thematic echoes of the episodes to come.

The problem is that these are the only connections between this film and the others. In the previous films, set decades later in Hannibal's life, the central character causes death and mayhem for the sheer fun of it. But this Hannibal isn't nearly as monstrous as the script keeps saying he is; he's vicious but never heartless. Ulliel catches the character very nicely indeed, with a dash of camp excess that makes sure the film never takes itself too seriously.

The rest of the cast tip over the top, from Ifan's snarling villain (he's the real monster here) to McKidd's haunted opportunist. Gong is once again strangely miscast as a Japanese character, but she too plays her role with macabre relish, including interludes in which she gets to dress as a leathered biker and a kimonoed sensei. These ridiculous touches help undercut Harris' pretentious script. But in the end we wish the film had just been made as a stand-alone dark avenger thriller, rather than trying to add some sympathy to the Hannibal Lecter legend.

themes, strong violence and grisliness, language

19.Jan.07