A Most Wanted Man

Characteristic candour gruffly composes a brilliantly crafted intricately strategized plan, its nascent dexterity depending on several delicately interconnected volatile fusions, frenetic feasibilities, orchestrated by a rough hands-on been-there-done-that fulcrum, A Most Wanted Man, time pressurizing each micromovement, immaculate manoeuvrability, necessarily set in motion.

Definitive coordinates.

Explosive potential.

Gut-wrenching grizzle.

Temporally repleted.

Günther Bachmann's (Philip Seymour Hoffman) team must expertly function, however, these spies are situated within a competitive international pride, lofty liaising lions, trust, an oppressive factor, guilt, too remote to consider.

Ripe with treachery.

And contention.

Easier to follow than Tinker, Tailor, Soldier, Spy, but not as astounding consequently, A Most Wanted Man provocatively sets the stage, then allows Philip Seymour Hoffman to prosper.

There aren't many diversified variables (surprises) after the operation's set in motion, it's very smooth, but Hoffman's performance supplies enough excruciating angst to augment the film's comfortability with bona fide substantial grit.

I've now seen Richard Burton, Gary Oldman, John Hurt, and Hoffman in film adaptations of John le Carré's novels, and would love to see another starring Daniel Day Lewis and Tom Hardy.

A Most Wanted Man's timing is perfect considering the continuing advances of ISIS.

The American

At first I thought The American was going to be a terrible film. The introductory scenes have a peculiar logic that doesn't make much sense and George Clooney's (Jack/Edward) performance within is anything but exceptional. But as it unreels and the motifs and situations percolate and blend, slowly and harmoniously disseminating character, philosophy, and metaphor, utilitarian and reflexive, frank yet cunning, a life force begins to shine forth, greater than the sum of its parts, as an assassin tries to escape his fate and freely retire from his cloak and dagger existence. For once a priest is shown to be an honourable man (Paolo Bonacelli), judgments regarding controversial occupations are suspended, mature desires coalesce with ubiquitous anxieties, and professional foresight outwits calculated terminations. Some of it's kitschy and sensational but these scenes often conclude with a sinisterly provocative resolution which reflects the subtleties of the predictable. A uniformly paced paranoid template within which a nocturnal narrative timorously pulsates and maneuvers, The American outwits expectations and undermines its overt manifestations. Directed by Anton Corbijn with an excellent performance from Mr. Clooney.