The International (2009)

Review:
The International is a taut, globe-trotting thriller directed by Tom Tykwer, starring Clive Owen and Naomi Watts. The film revolves around an idealistic Interpol agent (Owen) and a New York district attorney (Watts) who uncover a vast, far-reaching conspiracy orchestrated by a powerful, secretive financial institution. The plot takes them from New York to Berlin and Milan as they pursue the truth behind an arms deal that funds international corruption and political violence.

The movie’s strength lies in its compelling conspiracy-driven narrative, which unfolds at a measured pace, allowing tension to build slowly as the protagonists piece together the global plot. Owen’s portrayal of Louis Salinger, a relentless and driven agent, is solid—his cold demeanor and stoic determination make for a character who’s less about flashy heroism and more about dogged persistence. Naomi Watts, playing the role of the attorney who’s reluctantly pulled into the investigation, provides a grounded counterpoint to Owen’s intensity. Their partnership works well, even if their chemistry isn’t as striking as one might hope for in a thriller of this caliber.

The film is a mix of international espionage and financial intrigue, with much of the suspense stemming from the vast, shadowy world of banking and arms dealing. While this is a timely and fascinating premise, the execution leaves a bit to be desired. The pacing, while deliberate, occasionally feels too slow, and some of the narrative threads don’t quite come together in a way that feels satisfying. Additionally, the film’s attempt to tackle such a massive conspiracy can sometimes come across as overly convoluted, requiring the audience to suspend disbelief in order to accept the numerous twists and turns.

One of the standout moments of The International is the thrilling shootout in the Guggenheim Museum in New York, a sequence that is masterfully choreographed and shot. It’s a rare moment in the film where the action becomes truly exhilarating, and the innovative use of the museum’s architecture adds a unique visual flair. Unfortunately, these types of high-stakes moments are few and far between, as the film spends more time investigating the moral and political implications of the conspiracy rather than building up to explosive moments.

Visually, the film excels, with Tom Tykwer’s direction bringing an atmospheric, almost melancholic tone to the proceedings. The dark, sleek cinematography enhances the sense of intrigue and danger, even as the film’s intellectual aspects sometimes outweigh its action. The film’s score, composed by Tykwer, Johnny Klimek, and Reinhold Heil, complements the tense atmosphere, providing an undercurrent of unease without overpowering the narrative.

In conclusion, The International is an intelligent, thought-provoking thriller that focuses more on political intrigue than action, which may appeal to fans of cerebral espionage films. While the film’s pacing and complexity might alienate some viewers, its sleek direction, strong performances, and occasional bursts of tension make it a worthwhile watch for those who enjoy conspiracy-laden thrillers.