There wasn’t a Scotsman among them. But more than 2,500 would-be Scottish revolutionaries, clad in kilts and many with their faces daubed with blue and white paint nevertheless took to the countryside outside the town of Munnerstadt at the weekend.

"I'm sick and tired of the people we have to deal with in this business," Mark Strong's drug-smuggling hood, Clive, moans.

Bourne is back, and he's better than ever. Well, not quite. This time, the Bourne Ultimatum duo – the director Paul Greengrass and star Matt Damon – have moved beyond their critically acclaimed franchise and teamed up to belt out a provocative and action-packed thriller.

Weapons of mass distortion bludgeon any subtlety in Damon's Iraq yarn

'Green Zone' Q&A: Paul Greengrass and Matt Damon

Miller's determination to establish the truth takes him on a perilous go-round of Baghdad, beyond the US military's cordoned fiefdom – the Green Zone – and into territory where "the enemy" is as likely to be from his own side as from Saddam loyalists.

No place like Homer

The Braveheart phenomenon, a Hollywood-inspired rise in Scottish nationalism, has been linked to a rise in anti-English prejudice.

The General

CLAUDE BERRI is the kind of French film-maker the rest of the world adores. Jean de Florette and Manon des Sources, his glossy epics of the 1980s, became required viewing for a certain type of undemanding middle-class cinemagoer, the sort that likes grand landscape, subtitles, and a bit of local colour a la Peter Mayle. Like much of Berri's work, Lucie Aubrac (12) is beautifully lit and thick with images that look good enough to eat. But it's also a shallow, unanalytical work - and since it's based on the autobiography of a French Resistance fighter, that's troubling. Like Cameron in Titanic, Berri treats his material as a love story. But he has little comment to make on the political background - in fact, his picture of the Nazi occupation seems less sophisticated than that offered by the BBC's hoary old Secret Army. From the opening sequence, it's clear that he's much more interested in grand romantic gestures than the events that made them necessary. As the titles roll, Raymond Aubrac (a harried Daniel Auteuil) and his Resistance colleagues are dynamiting a train loaded with Nazi munitions. The scene is a brilliant piece of pyrotechnic choreography, and seems to be the sole justification for making the movie in a wide-screen format. Several switches of identity later, Raymond is picked up by the Gestapo and suffers a vicious interrogation at the hands of Klaus Barbie (an absurdly under-used Heino Ferch). The film then drifts to Raymond's wife Lucie (Carole Bouquet, strangely marginal in a film that bears the name of her character) and her attempts to spring her husband from captivity.

First Rob Roy and now Braveheart: suddenly Hollywood has the hots for Scotland, for misty glens, broad knees and a history of virile defeat. Braveheart is set around the year 1300, and tells the story of William Wallace, who scored notable successes against the English at Stirling and York, before being betrayed and then executed in Smithfield, London, where a plaque outside Bart's Hospital commemorates him.