.....via NETFLIX and I think it's worth a rental for those who read my comments and still believe it sounds interesting.
The Link
Not everyone will have the patience to enjoy such a slow-moving, sometimes dark, always enigmatic and still open-ended, I believe, hitman/romantic drama.
George Clooney is the only American (I believe in the cast or crew) of this very cryptic, very European movie, in the same sense that "Pulp Fiction" or "No Country for Old Men" are very cryptic, very American films.
You know, if "The Da Vinci Code" movie had been even half as cryptic as this flick, I might have thought better of it.
It just wasn't very cryptic for a film about a code.
In "The American," Clooney plays a master assassin working in Europe.
The movie has beautiful Swedish and Italian scenery, beautiful locations, beautiful people, beautiful cinematography, beautiful buildup of suspense, a beautifully languid screenplay, beautiful sex and beautiful violence.
All this, while George's excellent, multi-faceted performance holds everything together.
This flick is so much more satisfying and better realized than "The Tourist," starring Angelina Jolie and Johnny Depp, if you can take the time.
That misguided movie simply couldn't ever make up its mind about its genre.
There's another, very good IMHO, assassination movie about an American in Europe called "Vantage Point," featuring Forest Whitaker.
The Link
However, it's made in a completely different manner using multiple (and I do mean multiple), fast moving, action-packed flashbacks to tell the story
But, most viewers probably lack the patience to enjoy that one too.
Either assassination story could have been told on film either way, fast moving or slow, and I found it fun to notice that.
So, give these two hitman films made using polar opposite cinematic techniques a try, if you're so inclined.
And, finally, notice the little CGI butterfly fluttering against the trunk of the tall tree in the background center of the closing shot, much like that rat scurrying at the end of "The Departed," to see how "The American" leaves the observant viewer with a mystery.
Or suggests the answer.
Anyone?
The Link
Not everyone will have the patience to enjoy such a slow-moving, sometimes dark, always enigmatic and still open-ended, I believe, hitman/romantic drama.
George Clooney is the only American (I believe in the cast or crew) of this very cryptic, very European movie, in the same sense that "Pulp Fiction" or "No Country for Old Men" are very cryptic, very American films.
You know, if "The Da Vinci Code" movie had been even half as cryptic as this flick, I might have thought better of it.
It just wasn't very cryptic for a film about a code.
In "The American," Clooney plays a master assassin working in Europe.
The movie has beautiful Swedish and Italian scenery, beautiful locations, beautiful people, beautiful cinematography, beautiful buildup of suspense, a beautifully languid screenplay, beautiful sex and beautiful violence.
All this, while George's excellent, multi-faceted performance holds everything together.
This flick is so much more satisfying and better realized than "The Tourist," starring Angelina Jolie and Johnny Depp, if you can take the time.
That misguided movie simply couldn't ever make up its mind about its genre.
There's another, very good IMHO, assassination movie about an American in Europe called "Vantage Point," featuring Forest Whitaker.
The Link
However, it's made in a completely different manner using multiple (and I do mean multiple), fast moving, action-packed flashbacks to tell the story
But, most viewers probably lack the patience to enjoy that one too.
Either assassination story could have been told on film either way, fast moving or slow, and I found it fun to notice that.
So, give these two hitman films made using polar opposite cinematic techniques a try, if you're so inclined.
And, finally, notice the little CGI butterfly fluttering against the trunk of the tall tree in the background center of the closing shot, much like that rat scurrying at the end of "The Departed," to see how "The American" leaves the observant viewer with a mystery.
Or suggests the answer.
Anyone?