Simplicity and chronology are two concepts of film that if well used, can revolutionize a film. On the other hand, if they are misused, they can create a dilemma.
In watching Spy Game, the dilemma which arose, was that of either enjoying the film for what it was, or critiquing the film for what it wanted to be.
Director Tony Scott has brought in some truly great films such as Top Gun, True Romance and Enemy of the State. In this film, his most ambitious one to date, he weaves an intricate, complex and seamless mix between the present and the past.
Spy Game is told in a series of flashbacks that seem to progressively gain length as the film moves. Yet, some may say that the film moves very slowly.
Robert Redford stars as a CIA operative Nathan Muir who in his earlier years recruited, trained and created his protegŽ, Tom Bishop, played by Brad Pitt.
Although the movie is set in the present it harks back to their past.
While the Chinese hold Bishop captive for espionage and a likely execution, Muir does everything in his power to set him free. The catch is Muir is on the brink of retirement and is almost helpless to save his young Boy Scout.
There is much more to the film than this simple synopsis, yet the rest is entailed in complex issues, unrealistic CIA access scenes (e.g. the authoritative forged document) and overused ‘speed up’ shots that try to set up a scene yet serve as nothing more than a repetitive and tiresome editing technique.
The film’s concept is quite ingenious, yet the manner in which it is presented may to some be quite irreverent. We have a film here that attempts to be something, which it is not. The film’s greatest weakness is the storytelling. It complicates a simple premise and bogs it down in flashbacks, which are differentiated by the employment of a beige, sandy tint.
The film remains tight and tense, especially with Scott’s still frame shots counting down the hours left until Bishop’s execution. Furthermore, Scott likes capturing elevated scenes with a helicopter using a ‘Wes Cam’ shooting style that has our characters as the centrepiece in the frame while the camera speeds up and revolves 360 degrees in a manic manner.
That said, it is a well-made film with some great moments and terrific acting. Brad Pitt seems to be maturing as an actor and is slowly creeping away from his studly image by coupling himself with some great actors and engaging himself in roles that display both his charm and acting range.
As for Redford, he seems to enjoy playing a ‘know it all spy’ who can outwit and outlast his oppressors as they seek for answers. Pitt and Redford are fantastic together, and although they do not share as much screen time, as one would expect, when they do, it is well worth it.
Spy Game tries hard to be a different kind of spy film. It is not a full throttle action film, nor a thriller, nor a drama. It is a combination of all three that seems to jump all over the place and cannot be content on settling into one genre.
Furthermore, it relies on a romantic subplot that pits Pitt against choosing his job, or his love.
Also, the storytelling is quite demanding which bogs the film down in key times. Yet, it still is a fresh piece of film that will hold one’s attention, if not for the acting, its’ visceral visual style reminiscent of Steven Soderbergh’s Traffic.
It is evident that Scott presents us with nothing new except for a stylized story telling technique that unfortunately deters the film rather than ultimately saving it.
In watching Spy Game, the dilemma which arose, was that of either enjoying the film for what it was, or critiquing the film for what it wanted to be.
Director Tony Scott has brought in some truly great films such as Top Gun, True Romance and Enemy of the State. In this film, his most ambitious one to date, he weaves an intricate, complex and seamless mix between the present and the past.
Spy Game is told in a series of flashbacks that seem to progressively gain length as the film moves. Yet, some may say that the film moves very slowly.
Robert Redford stars as a CIA operative Nathan Muir who in his earlier years recruited, trained and created his protegŽ, Tom Bishop, played by Brad Pitt.
Although the movie is set in the present it harks back to their past.
While the Chinese hold Bishop captive for espionage and a likely execution, Muir does everything in his power to set him free. The catch is Muir is on the brink of retirement and is almost helpless to save his young Boy Scout.
There is much more to the film than this simple synopsis, yet the rest is entailed in complex issues, unrealistic CIA access scenes (e.g. the authoritative forged document) and overused ‘speed up’ shots that try to set up a scene yet serve as nothing more than a repetitive and tiresome editing technique.
The film’s concept is quite ingenious, yet the manner in which it is presented may to some be quite irreverent. We have a film here that attempts to be something, which it is not. The film’s greatest weakness is the storytelling. It complicates a simple premise and bogs it down in flashbacks, which are differentiated by the employment of a beige, sandy tint.
The film remains tight and tense, especially with Scott’s still frame shots counting down the hours left until Bishop’s execution. Furthermore, Scott likes capturing elevated scenes with a helicopter using a ‘Wes Cam’ shooting style that has our characters as the centrepiece in the frame while the camera speeds up and revolves 360 degrees in a manic manner.
That said, it is a well-made film with some great moments and terrific acting. Brad Pitt seems to be maturing as an actor and is slowly creeping away from his studly image by coupling himself with some great actors and engaging himself in roles that display both his charm and acting range.
As for Redford, he seems to enjoy playing a ‘know it all spy’ who can outwit and outlast his oppressors as they seek for answers. Pitt and Redford are fantastic together, and although they do not share as much screen time, as one would expect, when they do, it is well worth it.
Spy Game tries hard to be a different kind of spy film. It is not a full throttle action film, nor a thriller, nor a drama. It is a combination of all three that seems to jump all over the place and cannot be content on settling into one genre.
Furthermore, it relies on a romantic subplot that pits Pitt against choosing his job, or his love.
Also, the storytelling is quite demanding which bogs the film down in key times. Yet, it still is a fresh piece of film that will hold one’s attention, if not for the acting, its’ visceral visual style reminiscent of Steven Soderbergh’s Traffic.
It is evident that Scott presents us with nothing new except for a stylized story telling technique that unfortunately deters the film rather than ultimately saving it.
