Matrixston Wow! Such a good movie.

AniInterview Sorry, this movie sucks

Listonixio Fresh and Exciting

Portia Hilton Blistering performances.

Jonpow Respectfully rendered adaptation of Martin Booth's meditation on the last days on ths job for a secretive enabler of hits, assassinations, etc. As much of the book is first person, it's hard to fault Clooney for failing at times to convey the full depth of the writer/protagonist's growing attachment to the Italian village, and possible normalcy, after a life of hiding and running. Alas, the ending was changed to suit someone, completely upending Booth's fine tale.

danielpauldavis-93-40935 A good rule for movies is that more nudity = less action (and thus, less plot.) That rule holds true here. The movie has plenty of naked women (and a naked George Clooney or two). However, George Clooney's 2- named character escapes Sweden (later, we learn why) to sunny Italy so he can tell his boss he's quitting. By that point, we realize he's a paid assassin, so we all know he's not "quitting." All of the action is in the last 10-15 minutes (10, I think.) Until then, he sits in a cafe, talks with a priest, builds stuff (we do not yet know what until the last 10 minutes), and visits a local prostitute he has the hots for . . . but nothing happens (except nudity.) This movie was made because it has George Clooney; I can't think why he wanted to make it.

veejayy Look I love Die-hard and Mission Impossible and , yes Beethoven .But you see a movie like this and you realize what the language of cinema really is. The deliberate use of the camera as a medium to tell a story not just to record images. The space to absorb the experience and appreciate the stunning cinematography.This is Day of the Jackal (the original) but in this case the assassin is not seen as just one dimensional. We really feel what this guy is going through without his having to tell us. Kind of reminds me of the writing of Elmore Leonard where the story drives the characterization. Here the camera does. This is similar in my opinion to the cinematic characterization of Scotty (Jimmy Stewart) in Vertigo.I watch a lot of Grade A junk because hey its fun. But then you hit a Tarantino movie or a Wes Anderson movie or HItchock film like Vertigo and you realize what cinematic story telling is.And when is Clooney gonna get some kind of Oscar. From a kid on an ER show to his movie chops he must get something out of it!

oldyorker This is a very quiet film, which is not a bad thing, necessarily. It lives of its atmosphere and the immersion into the mind-sets of its protagonists, who have to act like pieces on a chess board, where the strong one may fall at the hand of a "weak one", if ones makes the wrong move at the right time. The scenery is nice, the actors do their job really pretty well, so, all could be good, till the script ends up with a massive blunder at the climax and with regards to the final twist, which feels extremely amateurish.Anybody, who is a little familiar with firearms knows, that each one is calibrated differently and that this may quickly change (e.g. if it is knocked, dropped etc.). This means, one has to learn and practise, how the gun currently aims, and repeat this regularly.In this film, the crucial last shot (which literally "backfires") takes place long after the gun has been handed over again. For the sake of the drama we are made to believe, that the first shot of this gun has been saved for the actual "performance" without a rehearsal - aaaargh! No experienced assassin would do this or risk this (or simply forget to practise and calibrate, when they can).Unfortunately, the climax completely relies on having to convince us of this erroneous assumption, which, in my view, eradicates a large part of the magic of the film, where we are meant to have a glimpse of a secret and quiet world of professionals, who are masters of their dark art.This technical error (or oversight) is plainly ridiculous and, unfortunately, spoiled my respect for the film significantly, actually irreparably.