O Bom Pastor

I wasn't sure that a movie like this could or would still be made and released in this country.

No, it wasn't Mission Impossible 6. It didn't have the overwhelming special effects, chases, explosions and gunfights one might expect in a spy thriller. It didn't need them. Thrilling enough was the exposition of character (imagine that). Plot? Whose real life has ever had a tight plot line? Edward Wilson's life meandered along like many do. In fact, I found it even more interesting because the turns Wilson's life took seemed dictated by his character and not just by his chosen profession.

Courageous choices were made by DeNiro in making this film, by Damon in tackling the role with such coldness and stoicism, and by Jolie in passing on being a movie star in favor of being an actress.

If you're out to see a movie soon, this is one that should be on the top of your list. An all-star cast and an intriguing story isn't all that this movie has. It has some great performances from both Matt Damon and Angelina Jolie that are likely to get some award nominations.

I won't give any spoilers, I'll just give my background and overall opinion. When I saw the commercials, I thought it seemed interesting, but not interesting enough to get me out of my seat right now to go see it. It just didn't seem to have anything totally different than other movies, other than the combination of actors. Since I just got to see it anyway, I realized that it's one of those movies that ends up being better than you think it would be.

Matt Damon, as always, plays a good serious guy who's smart, savvy, and dedicated to his job. It kind of reminded me of his characters in The Departed and the Bourne Identity, except it's in a different situation and setting. His performance in this role was very fitting and believable.

Angelina Jolie surprisingly worked well with this role. In the commercials I thought she was a little too wild compared to Matt Damon's calm character, but she really brought out the emotion of a wife who felt shut out and didn't have a complete relationship with and understanding of her husband.

Robert DeNiro of course was great. It was a nicely added touch to an already good movie.

While I wouldn't say it's as factual as the History Channel, I think the subject of the movie does put good insight on the history of the CIA. I think people who are into government/politics and history would like the storyline. It does focus quite a bit on his family relationship and how it is affected by his job in the CIA, and I'm sure any couple who has been in a similar situation would understand it.

Overall, the movie was better than I thought and I would recommend it to movie-goers, especially those who like suspense and any of the main characters.

Before I go on to praise the good points of THE GOOD SHEPHERD, I should mention at the start that the film badly needed some judicious editing. There are many scenes that go on for too long a time and are badly in need of some artful editing to get the point across just as well.

Aside from length, everything else about the film is on the plus side--the handsome cinematography, the vast amount of settings, the background score that adds to the drama, and the performances of the entire cast which are uniformly good. I'm not a great admirer of ANGELINA JOLIE as an actress, but here I think she demonstrated skill at suggesting the loneliness, frustrations and jealousies of a woman whose life has to remain outside the boundaries of her husband's job with the CIA. Through a series of detailed vignettes, the murky world of an agent's life of deception within the government is sharply observed.

More of a character study of Edward Wilson (played in stolid, very serious fashion by MATT DAMON) than a straightforward spy yarn, it manages to hold the interest even though it uses the flashback method of storytelling that is apt to confuse a viewer if it isn't done well. But here again, there is a flaw--it covers a span of twenty or more years but the aging of the central character is never quite convincing enough. Damon never looks that much older than his grown son--whereas a few gray hairs might have helped considerably. As his grown son, EDDIE REDMAYNE does reasonably well as the man seeking his father's approval.

As for the supporting players in this story about one man's experiences in the newly developing CIA, JOHN TURTURRO does an outstanding job as a tough inquisitor and MICHAEL GAMBON is outstanding as a security risk with homosexual tendencies. ALEC BALDWIN has little to do but is intense enough as one of the agency's top men and others in the cast maintain credibility all the way through.

The story itself is rather problematic in that nothing is what it seems and not all the information is readily given to the viewer in a way that makes sense. This is partly the fault of the script and partly the fault of director Robert De Niro who also assumes a small role effectively.

But still, despite the handicap of being too long (and a bit too involved at certain points), it makes for fascinating viewing and is the kind of film you dare not divert your attention from for a moment. If you do, you are liable to miss an essential plot point.

Summing up: Highly recommended for anyone with a keen interest in espionage dramas.

Speaking as a viewer who had been eagerly anticipating the release of this movie since way back in the days when Leonardo DiCaprio was attached to star, I can honestly say I was very disappointed in the final outcome. Perhaps the film had simply become too hyped, with everyone proudly boasting it as "De Niro's comeback", but... suffice to say, no matter how hard I tried to enjoy this movie, it completely failed to entice me in any way, shape or form.

Director Robert De Niro tries a bold new touch by attempting a "CIA feel" for the film, in the sense that an element of mystery is present throughout the entire plot, attempting to better immerse us in the world of lies, deception and uncertainty that was the early CIA. Unfortunately, this method backfires very noticeably, as the plot seems to weave all over the place and we are presented with flat, uninteresting characters who are denied the further development or screen time which might actually have made them appealing. We are simply presented with a slew of famous faces in tiny roles, appearing and disappearing so quickly we barely have the chance to register their presence, but there is no connection with the characters, nor the long, overly confusing convoluted plot they play a part in.

But the film's real weakness is the apathy factor. In a recent interview, De Niro acknowledged his intent that the plot should be more elusive and less obvious, to make the viewer work harder and appreciate the film further. He then proceeded to mention how viewers should be emotionally affected and connect with the characters, even if the plot may not always be clear, and we may not always what's going on, or who's killing who, or why. This is where De Niro's film really loses its viewers; the fact that not only is there not enough emotional connection to coast by, ignoring a lack of plot continuity, but the fact that there is no emotional connection whatsoever. Not only do we not know what is going on, nor are able to keep up fast enough to catch onto what few plot clues we may, but we can't invest enough interest into the film to do so. After a few scenes of brief, murky, unexplained and unrelated plot excerpts and confusing flashbacks from present to past times (made more difficult by the fact that James Wilson, Matt Damon's character never seems to age, and appears the same even 20 years later) we lose interest entirely, and find ourselves unable to care for the characters, nor care what is happening. We are kept at such a distance, both through an intentionally unclear plot and by uninteresting flat archetypes of characters that any interest we might originally have retained in the film quickly evaporates.

It's a shame that the film is so emotionally distancing though, as on the exterior it does appear to be a very stylish and classy piece of work. The cinematography is superb, capturing many unique, innovative shots and scenes, and the costume and set design are simply sumptuous, perfectly capturing the feel of the time period in a glossy, picturesque fashion. It is a shame how fully the apathy factor permeates the film though, because Eric Roth's script seems to be terse, tight, and engaging, but many lines are inaudible through muttering or fast speaking characters, and we are simply kept at such an emotional distance it is beyond us to make an effort to follow the rapid fire, confusing exchanges. We want to like the script, but it is so twisty and clouded with uncertainty, much like a CIA document itself, that we find ourselves also left in the dark.

De Niro has assembled a stellar cast here, but he seems content to reduce most of them to very un-flashy cameos, giving us little chance to connect with any of the characters. Matt Damon is an effective figure as the film's star, James Wilson, remaining admirably cold, detached and stoic throughout the film, but the plot backfires once again - a lead character who is meant to be, all pretenses aside, boring, still comes across as boring, no matter how strongly they are played. Angelina Jolie seems a bit out of place as Wilson's spunky yet abandoned wife; she plays the part well enough, but fails to submerge her star power and charisma in a role where a much less noticeable and subdued female lead would've been far more effective. John Turturro stands out as a vicious CIA interrogator, one of the few flashes of emotion or engaging character action in the entire film, and Joe Pesci makes good use of his far too brief cameo as a mob boss. There are also noteworthy appearances by Michael Gambon, Billy Crudup, Alec Baldwin, William Hurt, Tammy Blanchard and Timothy Hutton, but their parts are reduced to far too brief and uninteresting segments for us to really connect with or care about their characters. De Niro himself almost steals the show with a tiny role as a military general who constantly complains about his feet.

All in all, the Good Shepherd comes across as a tremendous disappointment, considering the incredibly successful film it was poised to be. Maybe I had too many expectations, having looked forward to the movie for so long, or maybe the film was overly hyped, but either way, the film falls flat as far too long, self indulgent, emotionally distancing and just plain uninteresting, wrapped together in a bundle of self-imposed apathy. All except for fans of Robert De Niro or the rest of the cast willing to sit through an extremely long and un-engaging movie should give this one a pass, lest De Niro's self confidence be flattened forever.

-6/10

Excellent.

The good shepherd is an excellent film. The reason this film was dubbed the "Godfather of spy movies" is because ala the "Godfather" De Niro uses real life situations involving the CIA and blends them together creating a story around the lead character played by Matt Damon. In addition,several great performances in character parts complement Damon's performance, notably Michael Gambon and John Turturro were both superb. You shouldn't view this film expecting to be blown out of your seats, it is deep, and requires strict attention to detail. My wife and I viewed this film in a packed movie house and we were very certain that half the people in the audience didn't understand or appreciate what they had just seen. I am not saying you need to be of great intellect to enjoy this film, but one of the things De Niro manages to do is bring back a thinking man's drama that is often not seen in today's attention deficit, shoot them up, bang – bang movies. This film makes it obvious that Directors Bertolucci and Leone have left a huge impression on De Niro and the result is a movie that both would be proud of.