Eran Creevy (of Shifty fame, which I have not yet seen), this movie is so f-ing beautiful to view -- just get a load of the opening credit sequence alone, with its shifting vertical lines and accompanying rhythm, music and color scheme: a designer's dream! -- that if your taste runs at all similar to mine, you'll be hooked. This credit sequence leads into a crack action set piece that is equally gorgeous to view, in which a crew of oddly-masked fellows (below) heist one of those glam new offices towers as we watch, nervous but enthralled.
James McAvoy, below, making here his third bid for action stardom (another good actor, Jeremy Renner, has fared better at this, perhaps because he was not so early typecast as Mr. Sensitive) -- who's trying his best to apprehend this crew and their slippery leader.
Mark Strong, below, an actor who excels in every role he tackles, though he is usually relegated to second string. It is particularly pleasant to see him excelling once again -- but in a co-starring role. As Jacob Sternwood, one of those "bad guys" we come to love and root for, Strong brings strength and a just-concealed decency, even a little sensitivity, to the role.
Andrea Riseborough (below) must admit.
New World, and indeed there are some. This one has a smaller cast and budget, with which it does as much visually and emotionally as its Korean counterpart. But the ins and outs of who's with who and why are a tad foggy.
David Morrissey, above, left), and the coalescing of power among these groups might be frightening -- if we chose to believe that such a thing could ever happen. But politicians and media conspiring? Impossible! And police doing the same with a criminal element? And then all four on the same track? Please! No self-respecting American Republican or British Liberal, for whom day is night and black white, would possibly countenance that such a thing could exist. (Mind you: Not that the Democrats and Labour Party are all that much better.)
Peter Mullan (above), who with Strong, Johnny Harris and the delightful Ruth Sheen, handle that hostage scene toward the finale with sublime aplomb. (Some of the lights of current British film, theatre and TV are on display here -- yet another reason to seek out the film.)
IFC Films and running 99 minutes, opens tomor-row, Wednesday, March 27, in New York City at the IFC Center. Elsewhere? I don't know, but it will be available via IFC's VOD program and digital download, beginning this Saturday, March 30.