2012 Certificate: 15


In director Fernando Meirelles' sprawling drama, the paths of a procession of loosely linked, damaged characters - including Rachel Weisz's cheating wife, Jude Law's lonely businessman and Sir Anthony Hopkins' recovering alcoholic father - overlap in a series of interlinked stories. The swerving narrative switches between cities including London, Vienna and Denver. Inspired by Arthur Schnitzler's classic La Ronde, the script was written by Peter Morgan, screenwriter of Frost/Nixon and The Queen.


  • Fernando Meirelles


  • Rachel Weisz

  • Jude Law

  • Anthony Hopkins

  • Eminem

  • Ben Foster


You'll be relieved to hear that the 360 referred to in the title is not the running time of this excruciatingly dull international drama but its circular structure.

However, even at a relatively modest 110 minutes Brazilian director Fernando Meirelles's sprawling ensemble piece tiresomely outstays its welcome.

The action - if it could be called that - kicks off in Vienna where rookie Slovakian prostitute Mirka (Lucia Siposová) is being photographed by a sleazy internet pimp and her picture uploaded onto the web.

It's here that bland businessman Michael Daly (Law) spots her and arranges a meet in his hotel only for dodgy German business associate Moritz Bleibtreu to clock his extra-marital antics...and blackmail him.

Ironically, it turns out that his flighty wife (Weisz) is having a fling with hunky Latin American photographer (Juliano Cazarré), a state of (illicit) affairs that prompts his girlfriend to head back to Brazil and a chance meeting with Sir Anthony Hopkins' gentlemanly ex-soak.

The narrative then swings back full circle to Vienna where Mirka finds herself caught up in an unlikely power struggle between East European mobsters...and her sister cops off with a mob chauffeur.

You'd have expected something a little more compelling from the director of City of God and The Constant Gardener, particularly with Peter Morgan (The Queen, Frost/Nixon) writing the script.

However, what you get is a tediously uninvolving procession of forced coincidences, overly-manipulated chance meetings and the most interesting character - Ben Foster's rehabilitated sex offender - given less screen time than Sir Tone, who's allowed to deliver a massively self-indulgent diatribe at an AA meeting.

Some point is obviously being made about globalisation, but it's impossible to make out what it is.