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We don't have a thread for this? I saw it today and thought it wasn't as bad as some reviews are making it out to be. It certainly has its share of flaws. The plot is rather predictable, primarily regarding the identity of the corrupt government officials and the whole nature of the mystery. There are also way too many cuts to the security camera point of view, constantly reminding the audience that SOMEONE IS WATCHING! Those cuts also gives away too much of the plot too far in advance, undermining some of the suspense of the mystery. As an intelligent barrister, it doesn't really make sense that it took Eric Bana as long as it did to figure out who was spying on him and Rebecca Hall. He told only one person about the same cab repeatedly picking him up, and then the next cab mysteriously (as he noted) had a different identification number. That same person is also the only one who knew that he and Hall had an illicit affair, which the agency they're trying to expose uses to threaten them. But it takes a couple more slips from the character before Bana figures it out. The audience is then supposed to be surprised when this spy is seen meeting with the head of the corrupt agency. Julia Stiles essentially has a glorified cameo of two scenes where she asks the obvious questions that any alert audience member would already be asking and to make the semi-obvious parallels to Snowden and Greenwald. Her questions are topical to recent controversies, yet the film's presentation of them is not particularly new or interesting. All that said, I did enjoy it overall. The performances are quite good and the pace moves along briskly, just fast enough to stay engaging and not so fast as to be overwhelming. I also thought it had one of the stronger scores I've heard this year (not that I've actually heard any really noteworthy film scores this year.) The quiet rhythmic piano music had a less is more approach which added to the atmosphere of the film without distracting from it.
Has nobody seen this? It's showing on BBC2 (Friday evenings), and has been by far the most talked-about TV in Britain this month. It's based on a trilogy of novels by Ford Madox Ford (who also wrote The Good Soldier), adapted by (my favourite living) playwright Tom Stoppard, and stars Sherlock himself, Benedict Cumberbatch, alongside Rebecca Hall. Is this not airing in the US? A few scattered impressions: - Rebecca Hall is absolutely magnificent; I've been impressed by her in other work,but personally I think she takes it to another level here; it doesn't hurt that she gets most of the best dialogue, but the way she phrases even her most difficult lines, the subtlety of emotion she conveys is wonderful. - It's great to have a writer like Stoppard working in TV - I'd make a contrast here with Julian Fellowes' writing in Downton Abbey; I enjoy it, but you always know exactly what everyone's going to say - even the rhythm in which they will say it is measured to the last cadence. With Stoppard on the other hand there's more sense of freedom and 'danger' to the dialogue, more of an edge. E.g. “There are times when a woman hates a man. I have walked behind a man’s back and nearly screamed with the desire to sink my nails into the veins of his neck. And Sylvia’s got it worse than I.” In my book that's great writing... - The whole thing looks gorgeous, of course; I think that's pretty much a given for BBC period drama. As to the overall storyline, I think I'll wait to comment until the last episode airs this Friday.
I just saw the trailer for this film, which premiered at TIFF last year to decent reviews. Looks like it could be an atmospheric, meat-and-potatoes ghost story in the vein of THE WOMAN IN BLACK. It's good to see Rebecca Hall, who you might remember from THE PRESTIGE. http://www.youtube.com/watch?v=9NTlsS6ge04