Nations large and small have been in conflict and at war for as long as mankind has walked the earth. Armies are constantly looking for ways to gain an edge over their opponents, usually in the form of bigger and better weapons. For many nations, such as the United States, obtaining the latest firepower is not a problem. However, the many warring third-world countries with little or no industry must sometimes obtain weapons in seedier ways by dealing with black market arms dealers or gun runners. One such supplier is Yuri Orlov (Nicolas Cage), whose life, lies and corruption - as well as that of the governments he caters to - are examined in "Lord of War."

Written and directed by Andrew Niccol and based on real people and events, "Lord of War" is a gritty detour from Niccol's former screenplays, which include "The Terminal" and "The Truman Show." Niccol's touch is still there, though, in that the movie is smart and uniquely written. "Lord of War" follows Yuri as he grows from a small-time arms dealer to one of the largest movers of black market arms in the world. The film deals with the heavy subject matter in a refreshingly different way. Cage plays the character with no apology and even manages to insert a few lighter moments - by now the actor's trademark. Joining Cage on screen is Bridget Moynahan as Yuri's wife Ava Fontaine, and Jared Leto as Yuri's beloved brother Vitali. Ethan Hawke's Interpol agent Jack Valentine proves a formidable foe for Yuri, even if Hawke is no match for Cage in the acting arena.

"Lord of War" feels at times like a mix between "Catch Me if You Can" and "Blow." There is a constant cat-and-mouse game between Yuri and Valentine as Yuri sees his wealth and lifestyle change drastically due to the bump in business in the aftermath of the Cold War. Like most stories of those who make their living profiting from illegal means, Yuri's story does not have a happy ending. He begins to see the toll his profession has taken not just on the enemies of his clients but on his family and himself at well.

In the end, after the bullets have stopped flying and the credits roll, there is a sense of wanting. Yuri never comes to grip with his lifestyle, and he never pays for his crimes. Despite being emotionally devastated by his profession of choice, Yuri never sees the light, and only offers a weak excuse - "I'm good at it" - to justify his actions. And maybe that's the point - to get viewers thinking about the filmmakers' not-so-subtle agenda - but there's still a gaping hole where the film's closure should be.

Cage deftly straddles the line between the villain we love to hate and the anti-hero we aren't sure we should love, but do anyway. He is neither, and to justify your two hours and the violence on-screen, you'll desperately wish he would pick one.