The Agent (2008)
Average Rating: 5.6/10
Reviews Counted: 12
Fresh: 8 | Rotten: 4
No consensus yet.
Average Rating: N/A
Critic Reviews: 1
Fresh: 0 | Rotten: 1
Average Rating: 3/5
User Ratings: 106
It's all in a day's work for high-flying literary agent Alexander; manuscripts to read, deals to be done, celebrity clients to be taken out to lunch, but first there is an author to deal with whose latest book the agent thinks is, frankly, not up to scratch. However he hadn't counted on the author's resourcefulness... This bitingly funny film takes you behind the scenes of the publishing world to witness the wheeling and dealing required to create the next best-seller.
Oct 1, 2008 Wide
Pinter & Martin Ltd.
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Beck does his best, and the dialogue crackles pleasantly, but he's a caricature: a lying, cheating smear of ordure who doesn't even like books. But his sin is worse than that - it's fiction's biggest. He's boring.
As a piece of small-scale British filmmaking it's an interesting enough diversion.
A quite unsexy subject handled quite adeptly, with pretty decent performances.
Lesley Manning's film never shakes off its theatrical roots but still manages to be sharp, funny and engrossing.
The Agent never really transcends its roots as a two-hander for the stage, but the director Lesley Manning does a good job of keeping things moving and production values are top notch.
I found something a little verbose and stagey in this story in movie form.
The advances up for grabs date the script instantly to a jollier time for publishing, but it's more of a bummer that Lesley Manning's direction is of the plonk-the-camera-anywhere variety.
A labour of love and principle, right down to the uncommerical ending, its message does lodge in the mind.
While unmistakably a stage adaptation, Martin Wagner's droll dialogue makes the cut-and-thrust reasonably dynamic, even if Wagner's barbs about the parlous state of modern publishing will surprise no one.
Tense, well-acted, and managing to avoid Misery territory, its only real misstep is the ending, which feels more like writer's paranoia - an ever-hovering spectre - than the natural outcome.
An intriguing two-hander that grows less persuasive as events unfold. There are hints of Pinter and signs of Mamet but nothing quite disguises the theatricality of the piece despite some sturdy acting.
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