The Agent (2008)
Average Rating: 5.6/10
Reviews Counted: 12
Fresh: 8 | Rotten: 4
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Critic Reviews: 1
Fresh: 0 | Rotten: 1
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Disgraced CIA agent John Law has hit rock bottom after blowing his latest assignment. Forced out - he lands back in his hometown of San Francisco working as - a tour guide. On his first day Law meets a sexy, mysterious Asian woman and a quirky Foreigner when everything goes to hell - both are kidnapped! Turns out the foreigner -- is actually the son of a dictator sent to find a stolen tape that must never see the light of day. Now racing against time, Law must find the tape, keep the son alive,
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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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