Unusually gritty and grounded, this terrorism thriller avoids the pitfalls of most overwrought action movies by creating characters and action situations that are unusually believable, even if the plot itself feels badly undercooked. The problem is that there isn't a clear sense of what's at stake here, because screenwriter Philip Shelby insists on continually blurring the mystery by withholding key details until he's ready to reveal them. So the cleverly played old-style suspense never quite pays off.
It opens at the US Embassy in London, where new security chief Kate (Milla Jovovich) has been alerted to the fact that terrorists are trying to get visas to enter America. Working with the ambassador (Angela Bassett) her team leaders (Dylan McDermott and Robert Forster), Kate narrows in on a suspicious doctor (Roger Rees) who's an expert in explosive gasses. But a shocking bombing stops her short, framing her as the villain. Now she's being chased not only by the Americans, but also a British inspector (James D'Arcy) and a ruthless assassin known as The Watchmaker (Pierce Brosnan). And Kate knows that she's the only one who can stop the nefarious plot, whatever it might be.
This is one of those films that enjoyably pushes its central character over the brink, so we can't help but root for Kate to get out of this seriously messy situation and save the day. Jovovich plays her in a plausible way as a capable woman who has no choice but to fight back and try to survive, because she's the only one who knows that she's not the real threat here. Everyone else is extremely shadowy, although McDermott gets to show a heroic side, as does the terrific Frances de la Tour as the only embassy staff member who believes that Kate is the good guy. Meanwhile, Brosnan gives a remarkably effective performance as a cold-blooded killer.
Continue reading: Survivor Review
Like a symphony that's incomplete because all the notes aren't available, what I didn't get out of this is a three-dimensional portrait of the subject. The show, structured as a dead or dying man's vision of his life played out like a movie and stage production, is loaded with talent and a detailed recreation of his period. The portrayal of the swank, rich life is as festive to behold as it is off-putting. The world in which Porter whirls and commands with assured, inevitable success is an alien one. Rather than feel a part of it, we are there to revel in the entertainment.
Continue reading: De-Lovely Review
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