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That would be Beirut, 1985, when the presence of fetching aid worker Elizabeth Hadley (Catherine McCormack) complicates Bishop’s life.
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These detail how the two men first worked together in Vietnam in 1975, how Muir recruited his younger colleague into the agency a year later in West Berlin, and the troubles that marked the last time they worked together. That strategy mandates a trio of extensive flashbacks.
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They want to debrief him about Bishop, an agent he used to run, as they try to decide whether the younger man should be rescued or left to rot. Those soulless buffoons, led by icy bureaucrat Charles Harker (a fine Stephen Dillane), have plans for Muir’s final day, and they don’t include ice cream and cake. The man is so old-school he wears a trench coat, drives a Porsche, drinks no Scotch younger than 12 years and calls cigarettes “smokes.” He can also, no surprise, outsmart the soulless corporate buffoons who now run things at Langley without breaking a sweat. It’s Muir’s last day at the agency after 30 years of keeping the world safe for democracy. And wouldn’t you know it, it’s just a week before our president is scheduled to make a key state visit. But even a peerless, nerveless operative doesn’t win them all, and the next thing we know Muir gets an early-morning call telling him that the Chinese have arrested Bishop for espionage. Set in 1991, “Spy Game” opens with perhaps its best sequence, in which a cool Bishop, disguised as an American aid worker, breaks into a nasty Chinese prison in the hopes of breaking someone else out. Saddled with fake wised-up dialogue of the “you’re gonna make a beautiful corpse” variety, the film is also hampered by its fragmented narrative line and miscalculations involving that high-profile casting. Scripted by Michael Frost Beckner (the woebegone “Cutthroat Island”) and David Arata (“Brokedown Palace”), “Spy Game” details a crisis in the lives of veteran spook Nathan Muir (Redford) and his young protege Tom Bishop (Pitt). When they’re good, viable pictures such as “Crimson Tide” and “Enemy of the State” result when they’re indifferent, there’s only so much that can be done to deal with how little of abiding interest is going on. He never seems happier than when he can orchestrate elaborate set pieces, using, for instance, a helicopter and an aerial camera system to bring pizazz to a dialogue sequence on a tiny rooftop high above a city.īut without a facility for dialogue, Scott is limited by the strength of his script and his casting.
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While people may or may not be fooled by this standard tale of skulduggery inside the Central Intelligence Agency, that’s not due to any lack of effort from director Tony Scott.Ī former commercial maker (though that fact is no longer in his bio), Scott is a shooter, someone who knows how to make a film’s action move along briskly. What “Spy Game” turns out to be is the old reliable family car spruced up around the edges in an attempt to convince a new generation of buyers that it’s a hot number. “Spy Game” is nakedly a star vehicle, but what kind of vehicle might that be? The sleek Rolls-Royce of studio dreams or the bedraggled Yugo of viewer reality? Big names Robert Redford and Brad Pitt are above the title, but what is going on under the hood?