Mammoth Gael Garcia Bernal, Michelle Williams, Marife Necesito, Sophie Nyweide Director: Lukas Moodysson One of the more startling aspects of Lukas Moodysson's English-language debut is his use of British electro-pop ensemble Ladytron's music to accompany some of the film's key sequences, and the way the lyrics correspond to those scenes a little too literally. It sums up Mammoth's major flaw - while not as histrionic as the similarly globe-trotting, multilinear Babel, the film suffers from Moodysson's heavy-handed approach to conveying his views about human disconnection. The vagueness of the characters' philosophical musings only adds to the film's problems. And that's a shame, as the cast do deliver performances that live up to the confused state of their characters. Central to the proceedings are the affluent New York couple Leo (Gael Garcia Bernal) and Ellen (Michelle Williams). Their unfailing politeness betrays an estrangement from the world, a feeling that bogs them down. Leo, a computer nerd-turned-entrepreneur, whiles away his time in Thailand, as Ellen struggles to confront the bloody situations she faces every day as an ER surgeon. Adding to the mix is the relationship between the couple's young daughter, Jackie (Sophie Nyweide), and her Filipino nanny, Gloria (Marife Necesito), a reluctant migrant worker in New York trying to earn money to support her two young sons back home. As Ellen grows increasingly frustrated about Gloria's intimacy with Jackie, Leo has an Asian acquaintance to contend with in the shape of Cookie (Run Srinikornchot), an escort he meets at a bar on a far-flung island while waiting for his associate to tie up a deal in Bangkok. The anguish is plain for all to see, and Mammoth would have been a better film if Moodysson had steered clear of conventions and used the edgy aesthetics he had perfected in Lilya 4-Ever, or the avant-garde Container. Extras: trailer.