When the poster reads ‘A Michael Mann Film’, you know that it’s something to look forward to (he only directs every three years!). When it also bears the names of current king-of-everything Johnny Depp, Christian Bale, and a post-Oscar Cotillard, movie fans must be salivating.

The film follows John Dillinger (Depp), the charismatic bank robber who had the depression-era public divided, many believing he was a Robin Hood figure, but to J. Edgar Hoover’s (Billy Crudrup) newly formed Bureau of Investigation, he was ‘Public Enemy Number One’. He charges the Bureau’s leading agent, scientifically-minded Melvin Purvis (Bale), with finding Dillinger by any means necessary. Dillinger foils many of Purvis’ capture attempts, but as the Bureau draws closer Depp finds fewer places to hide, particularly given his new found love for his girlfriend, the beautiful Billie (Cotillard).

The story is interesting enough, and carried well by a charismatic Depp, but there are two major problems. Whilst Mann’s greater movies (Heat, Collateral) have all relied on a slow-burning tension, Public Enemies seems to be hindered by it. A faster pace would have more ably put across Dillinger’s ‘live for the moment’ philosophy, but what we get is shot after shot of lingering looks. The second problem is Mann’s insistence on shooting with digital cameras. For scenes shot with a lot of natural light it looks amazing, but otherwise it hinders the visibility, and looks a little too modern for a period film. Nonetheless, Mann is still the king of movie shoot-outs, and the film delivers some amazingly tense moment (look out for traffic lights!).

Bale struggles with an underdeveloped character. We know little to nothing about Purvis, nor do we get much development. He is (ironically) like a dapper Terminator, ruthlessly hunting down his targets. Depp brings us a symphony of roguish grins, intense stairs and great lines. He’s as great as ever. Likewise, Cotillard is as gorgeous as she is demure, and delivers one of the best scenes in the film.

Not a misfire by any means, some will love the slow-building plot and superb shootouts. But one can’t help but feel more could have been made to put across why Dillinger does what he does, or rather why he risks so much. Such development would have made for a far greater emotional involvement at the film’s muted climax, and made this entertaining gangster flick something to remember.