Present day Hamburg: a tortured and near-dead half-Chechen, half-Russian man on the run arrives in the city's Islamic community desperate for help and looking to recover his late Russian father's ill-gotten fortune. Nothing about him seems to add up; is he a victim, thief or, worse still, an extremist intent on destruction? Drawn into...
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Present day Hamburg: a tortured and near-dead half-Chechen, half-Russian man on the run arrives in the city's Islamic community desperate for help and looking to recover his late Russian father's ill-gotten fortune. Nothing about him seems to add up; is he a victim, thief or, worse still, an extremist intent on destruction? Drawn into this web of intrigue is a British banker and a young female lawyer, determined to defend the defenseless. All the while, they are being watched by the brilliant, roguish chief of a covert German spy unit, who fights to put the pieces together as the clock ticks.
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To a weathered cinephile, there might be nothing sadder than a movie like A Most Wanted Man: the sort that is technically perfect, or close to it, but that lacks the panache to earn it hospice in the viewing public's minds and hearts. The latest John le Carré adaptation, a markedly superior film to Tomas Alfredson's Tinker Tailor Soldier Spy, treats its political thriller with the patience and density that you might imagine a real spy to devote to his missions. Director Anton Corbijn is determined to build a world of espionage as piercingly authentic - if not necessarily in practice (how the hell would some two-bit film critic know what the trade is really like?) than in ambiance - as possible, paying for this triumph with the loss of accessibility and narrative rhythm. Impressively enough, the film never sinks quite to the level of tedium. But it never hits the highs of real encouragement either.
Philip Seymour Hoffman plays German agent Günther Bachmann with a lovable combination of Bond-caliber determination and Office Space schlubbiness - he's a man so entrenched in his job (the catching terrorists racket) that his identity beyond the margins of worktime hours seems limited to sips of scotch and silent glowers. Unsurprisingly, Hoffman is A Most Wanted Man's greatest triumph: his access of the obsession and self-deprecation in a man who might have otherwise been a dimensionless vehicle not only rescues his character, but the otherwise stark A Most Wanted Man in entirety.
Without Hoffman, there is no movie. Despite acceptable turns from costars Grigoriy Dobrygin (as a Chechen Muslim targeted by Hoffman's organization), Rachel McAdams (as the diplomatic attorney driven to help Dobrygin find asylum), and - best of all - Nina Hoss (as Hoffman's colleague and friend), Hoffman is the principal feature keeping A Most Wanted Man alive.
But even at its liveliest, the film never feels particularly vibrant. Always smart, meticulous, and impressive, A Most Wanted Man lacks the nominal imperfections - the quirks and peculiarities - that might result in an active pulse. Ultimately, we are welcome to marvel at A Most Wanted Man, but it'd be nearly impossible to revel in it.
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