The International - Review

THE INTERNATIONAL is a film that I have been waiting to see for some time largely due to the publicity of a key cinematic moment in the film. I don't really have to tell you since it's shown above and in all of the trailers. The shoot-out in the Guggenheim Museum does deliver on its expectations but is the only thing truly shining from the rest of the film. The film's attention is focused on the compositions of its background more than what is upfront to the viewer.

The story is average; average to its core and doesn't go further in depth. Interpol agent Louis Salinger (Clive Owen) has been endlessly chasing after the activities and corruption that surrounds the world bank of International Bank of Business and Credit. He works with a NY assistant District Attorney (Naomi Watts) in finding leads and people that they will whistle blow for them. But, they always seem to die or disappear. Trust me on this, potential viewer, you will see this happen all the time. None of the characters are explored or get any development; they play their generic types and are relegated to a black or white status. This problem hits Watts' character the most since she doesn't have any weight or true purpose. She is simply a messenger, just as she was in EASTERN PROMISES.

The biggest problem with the characters, however, rests more on the powers that be of IBBC. The film tries to make them seem evil but they are so forced on the hard sell. The viewer shouldn't really care about their deeds; yes, they made the bad decision to sell illegal arms but the elite members of IBBC aren't made to be realistic. I was waiting for one of them to stroke their mustache while going over their deals and acquisitions. We do cheer for Owen to catch or kill them but his paranoid loose cannon cop is something seen too often. It's not Owen's fault but the script's; the film could have had the corporate men downplay their generic evilness in the beginning to make Salinger appear far more paranoid than usual but they don't. Instead, we get the same routine of man vs. corrupt machine.

As stated before, the focus on Tom Tykwer's direction is more on the architecture of the modern business civilization. Several well-framed shots display the fluorescent glow of night-time Berlin and over-zealous constructions of Luxembourg. This causes the cast to be dwarfed and, as stated in a overused film line at the end, show that their existence doesn't matter since the looming economic world will continue after their exit from life. The striking cinematography does reach its climax during the Guggenheim gun fight, which tells the most interesting story of the film both in the writing and cinematic staging.

The only other true recommendation would have to be Armin Mueller-Stahl, who plays another slightly menacing but aging old gun that he has been doing recently. His performance is the only display, human-wise, of deeper characterization. The rest of the characterization only seems to go to the monuments of modern design.

FINAL REVIEW 3 / 5