A Grande Mentira

Surely the older (recent) male actors were around the wrong way? Confused the hell out of me.

A remake of the 2007 Israeli film of the same name, John Madden's Westernised take on the gritty espionage thriller is enjoyably diverting, if not much more. Tracking three Mossad agents across two timeframes – as young adults they embark on a perilous mission to capture a serial killing Nazi surgeon, 30 years later they revisit their haunted memories – there's plenty going on story-wise. However it lacks that required edge to elevate it into spellbinding territory, largely due to the uninspiring way it's shot and presented. The impressive line-up of actors don't disappoint; Martin Csokas, Sam Worthington and Jessica Chastain gel naturally as the inexperienced spies, whilst Tom Wilkinson, Ciaran Hinds and Helen Mirren add enormous clout as their elderly counterparts. Could've been better, could've been worse; a mixed affair really.

The Debt is a Nazi hunt/spy thriller all rolled into one and it's nice to see a classic thriller that takes the subject matter seriously and relies on suspense to keep us in its grip. I was at the edge of my seat for most of the time and there's plenty of surprising turns in the story to keep even the most jaded enthralled.

Most of todays inept filmmakers rely on blowing stuff up hoping that this will count as suspense. It also is such a breath of fresh air in an appalling year of C -grade superhero movies and obscure comic book adaptations. Hopefully this does well so Hollywood can go back to making well written thrillers and dramas like they used to.

Best suspense thriller of 2011 so far.

It's always nice when you see a movie trailer that looks pretty good, and then when you see the movie it far exceeds your expectations. The Debt, a remake of a 2007 Israeli movie of the same name, is a suspenseful espionage thriller about a team of Israeli Mossad agents as they attempt to track down "the Surgeon of Birkenau". The movie incorporates flashbacks and flash-forwards in a controllable fashion, with approximately half the movie taking place in 1966 and the other half taking place in 1997. The film is based on a screenplay co-written by Jane Goldman and frequent co-collaborator, Matthew Vaughn, a rising star known for his writing and directing of films such as the underrated Kick -Ass and the 2011 summer hit X-Men: First Class. Director John Madden, best known for his Oscar winning movie Shakespeare in Love, crafts an intriguing film that although predictable at times keeps you engaged. In The Debt, Madden has made some great choices in casting; beginning with Oscar winner Helen Mirren and Oscar nominee Tom Wilkinson, both of whom provide stellar performances. Jessica Chastain, Martin Csokas, and Sam Worthington, although not having any Oscar nominations of their own, give captivating performances during the movie's most brooding scenes.

I enjoy espionage films, such as Munich, Spy Game and North by Northwest, immensely. The Debt's strength, much like those other three films, is that it's character and story driven and not dependant on action or special effects to maintain its viewers. The pacing is steady and there's a lot of intensity as the agents attempt to accomplish their mission. The subject matter of the film is a dark one, and that's reflected in the film. Unlike your neighborhood police department or county sheriff's department, intelligence agencies do whatever is necessary to get the result they are seeking; such as some uncomfortable visits, for the patient as well as the viewer, with Dr. Bernhardt, played disturbingly by Jesper Christensen The movie kept me intrigued throughout, and I find myself often sliding up to the edge of my seat, unable to tear my eyes away from what was happening. As the film drew to a close, most questions are answered and closure is provided, unlike just about every other movie made today.

Grade: B+

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A plodding plot, dull dialogue and cardboard characters made this a boring evening. Does Mossad really recruit self-obsessed inadequates from soap operas? The film starts with a confusing series of action sequences posing unanswered questions, which I found irritating. It then proceeds to an over-long and pedantic account of the bungled kidnapping of a Nazi war criminal, who is the standard stock Nazi. At least the same cannot be said of the Mossad agents, who would be more at home in Eastenders - emotional turmoil and histrionics prevail and the situation deteriorates into total catastrophe.

However have to say that my wife liked it!