El arte de la guerra

Wesley Snipes has always been trusty in the action genre. He has great charisma and looks totally cool when kicking the crap out of the bad guys. Ever since his breakthrough role in "Passenger 57." There are many great moments of action in "The Art of War." Sure, the plot is far from compelling, but the energy and fast pace keeps it fueled.

"The Art of War" is not a work of art, but it's a great popcorn flick and one that won't put you to sleep! I just wish they could've done something about the cliches. I'm not going to give anything away, so I'll just say, "Why is it in these movies the characters never seem to know who their limo driver is?" It's an overused cliche and a cheap surprise.

My score: 7 (out of 10)

Wesley Snipes is back better than ever in "The Art Of War," a movie that is so good it deserves to be among the top ten of the summer.

There are many reasons why I enjoyed "The Art Of War." The first reason was the supporting cast. When I first saw Donald Sutherland in this movie, I knew it would be a thing of beauty. He brought great credibility as he made a good movie, that much better. Anne Archer is one actress you can always count on to give a good performance.

"The Art Of War" turned out to be a montage of "The Fugitive" series and "Enemy Of The State." While this is the only negative thing about this film, it didn't deter me from enjoying it to my heart's content.

There are many other things about "The Art Of War" such as the high-tech wizadry and action-filled sequences that were very enjoyable. However, the best thing about this film was the storyline. "The Art Of War" had beautiful twists toward the end of the film. In addition, there are scenes in this movie that are so good they must be seen to believe they are that good.

The Art of War, a somewhat pretentiously slick and stylish thriller is a nice action film from the first year of the new millennium. Grafting current events onto that old stand-by plot device, the accused innocent man, and adding lots of gratuitously arty cinematography, Duguay has come up with a film that manages to be diverting - provided, of course, you don't think too deeply about the plot. When the film works, it's because of the tight pacing and expertly choreographed action scenes. The "surprise" twists in the plot are nothing of the sort - anyone who doesn't expect the return from the dead of one character and the betrayal by another hasn't seen many of these movies. This is a good Wesley Snipes film, rather forgotten.

THE ART OF WAR / (2000) ** (out of four)

By Blake French:

The Art of War refers to an ancient handbook by a mighty Asian general named Sun Tsu, who hypothesized that wars can be won without physical combat. Numerous powerful leaders, including Napoleon, defeated their enemies by using the ideas of Sun Tsu. According to the action flick "The Art of War," Tsu's theories apply to the world of business and politics as they do to war.

"It's about strategy, manipulation and control, all the way through," says director Christian Duguay, whose credits include TV's "Joan of Arc," and "The Assignment." "The whole film is based on the theme of manipulation and the idea that things are not what they appear. That's what I think makes this film very unique and exciting."

Or how about confusing and hard to follow, better words to describe what Christian calls "one character manipulating the other, who is manipulating still another." The production notes inform us on the ancient techniques and strategy of manipulation, but "The Art of War" is not the movie to justify those principles. After half a dozen plot twists, even more action sequences, and probably more hidden character motives, this film becomes exactly what Tsu condemned: the actual fighting of war. There's enough action in this movie to classify it as a mixture of material arts and a James Bond, but after one perplexing situation after another, we simply toss our arms and stop caring altogether.

Instead of a plot description, let's examine the sources of this movie's recycled story. First, we get a man who is wrongfully accused for a murder he did not commit. In a strike of luck and personal investigation, he gets the chance to prove himself innocent after escaping from the police during a transportation accident. Yes, that sounds like "The Fugitive." Now throw in the film's follow up "U.S. Marshals," about an accused government agent using his insider knowledge while an Asian thug tracks him down. Combine the two similar plots and you get something like "The Art of War," straight from the recycling plant to your personal viewing pleasure.

Working with a forty-million dollar budget, Snipes himself performs many of his own stunts and combat sequences. The film does offer some exciting, if conventional, action sequences, but I wanted a smart plot about political tactics and clever espionage, not run-of-the-mill action. Anne Archer and Maury Chaykin contribute effective performances as the villains, and Snipes does good things with his character. But the plot just doesn't work. It houses too many characters, too many plot complications, and too much technical government stuff. "The Art of War" is pretty much an unimaginative telling of a tale we've already heard.

Everyone loves a Wesley Snipes flick. If it's decent, that is, and these days he's been churning out some sewer muck. Back in the day, however, he had some bangers, which includes The Art Of War. Wesley heads up an elite tactical team here, secretly employed by the United Nations, hired to do all kinds of cloak and dagger stuff, including securing trade deals, eliminating potential threats and maintaining cooperation from all sides. Run by a well spoken Donald Sutherland and Anne Archer, it's a low key 'fight fire with fire' situation, until it all goes tits up and Snipes is framed for the murder of some bigwig Chinese dirtbag. Forced to contend with Triads, government factions and his own former partner gone rogue (Michael Biehn steals every scene, as usual), it's a nice set up for a serviceable, above average action yarn. That Oriental influence always seems to make these thrillers seem cooler (ever seen Black Rain or Rising Sun?) which helps as well. Snipes and Biehn are livewires though and have a fantastic silenced pistol duel late in the third act, which is one slick showcase of a sequence. Not a whole lot to this one, but as an entertaining garden variety actioner, it holds up just fine.