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75Clive Owen makes a semi-believable hero, not performing too many feats that are physically unlikely. As the plucky DA, Naomi Watts wisely plays up her character's legal smarts and plays down the inevitable possibility that the two of them will fall in love.
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75Won't go down as an action thriller for the record books, but it's a pretty good one for right now. First of all, the villain is a bank. How's that for timing?
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75I can promise you a fairly good thriller with mixed-bag elements: preposterous plot, smartly elegant direction, one of the worst recent performances by a major actress, and a dynamite stick of an action scene that can stand close to the greats (the car chase in "The French Connection," the single-take battle sequence in "Children of Men") and from which the movie never really recovers.
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Punctuated with bursts of explosive energy, this is a contained, cerebral film.
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70Tykwer being something of an architecture freak, controlling Third World debt also requires a trip to the rooftops of Istanbul, to Zaha Hadid's BMW factory, and to Daniel Libeskind's Jewish Museum in Berlin. All great fun in a story that's more kinetic than compelling.
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70This is a thriller where the cutting, even in most of the action sequences, is meticulous but leisurely. The elaborate set pieces are so beautifully worked out that you could take them apart, shot by shot, and fit the pieces back together like an intricate Chinese puzzle.
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70The compulsively watchable Owen makes for an ideal leading man of both action and angst. The film's eye-popping set piece, a shootout at the Guggenheim Museum, is an extravagantly choreographed valentine to philistines everywhere.
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67There's something almost endearingly out of sync about the sleek but now dated Euro-thriller The International.
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67For all its impressive set pieces and breathless momentum, it's neither passionate nor urgent.
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67What it's mainly about is movie stars skittering from locale to locale while bullets whiz by and the plot thickens – or, more to the point, curdles.
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63A decent thriller that should have been dazzling, is nothing if not topical.
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63While its globe-trotting itinerary recalls the mad whirl of a "Bourne" picture, nothing about this film's style resembles the second or third "Bourne" outings (which I loved).
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63An hour after seeing it, you may not remember what The International was about. But you'll certainly remember that shootout. That is something to behold.
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63Where "Run Lola Run" was like a perpetual-motion machine, The International seems to forever be stopping in its own tracks. Tykwer takes coffee breaks to explain the convoluted and dicey plot.
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63Though not as action-packed as some thrillers, The International is noteworthy for its unusually scenic and architecturally dazzling locations.
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63The International possesses the look and feel of a thriller, but not the heart or soul of one.
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63Overall, though, the movie lacks the dash, wit, authority and character to become a first-class thinking-man's thriller.
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60If you take Tykwer's film even half-seriously, it will be like one of those horror movies that you leave, suspecting that the crazy, ingenious super-killer is waiting for you outside. A warning, then, to the susceptible: After seeing The International, don't dare go to an ATM.
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58There's a nifty shootout at the Guggenheim Museum and a lot of scenic travel, but little in it compels.
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58Ultimately feel so empty and forgettable.
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50Despite all the points it gains for furrowed brows and kick-ass gunfights, the film loses quite a few for being dry as burnt toast.
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50There's an over-abundance of dialog that can be downright boring, especially when it's sandwiched between fast-paced car chases and all-out gun fights.
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50An action thriller with some decent action and a few thrills, but all embedded in a yarn so hopelessly tangled that even the loose threads have knots.
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I couldn't help feeling that The International was stuck in second gear, like it couldn't decide whether to be fun or meaningful and so settled for being neither.
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50It's good enough that you forget how much better Brian De Palma could do it. The rest is a slow road to nowhere, less clunky than "The Interpreter" but bogged down by its own cynicism.
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50Despite being structured in an intriguing way -- bits of confusing action are shown first and explained later -- The International never finds its footing.
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50Graced with well-chosen location eye candy, Tom Tykwer's biggest production to date is proficient but lacks the added tension and characterization to put it anywhere near the top tier of contempo action suspensers.
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50It's almost worth seeing, though, for the incredible action set piece at the center.
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40The International almost seems like a Monty Python spoof on spy-game thrillers in which the phrase "secret agent" is constantly replaced by "banker," resulting in lines like, "...If I die, 100 other bankers take my place."
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40So undistinguished that the moments you remember best are those that you wish another, more original director had tackled.
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40There's a big hole in the middle of the movie: the director, Tom Tykwer, and the screenwriter, Eric Warren Singer, forgot to make their two crusaders human beings.
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38Remarkably dull thriller.
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Both actors (Owens and Watts) seem mildly aggrieved (and not at all convincing) at having to play characters considerably less intelligent than themselves in a movie that plays even dumber.
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20Motion is in copious supply -- a frenzied shootout at Manhattan's Guggenheim Museum grows interminable -- but the workings of the abstract plot are unfathomable, the characters are unpleasant and a couple of assassinations leave us as cold as the corpses.
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User score distribution:
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Positive: 14 out of 23
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Mixed: 4 out of 23
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Negative: 5 out of 23
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JeffL9
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TonyB.5
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DaDa1