An Interpol agent and a DA try to bring down a corrupt financial institution in this schizophrenic failure that wants to be both a suspense thriller and action film—and fails at both.
Move over, Darth Vader. Get out of the way, Hannibal Lecter. Step aside, Joker. There's a new villain in town: the evil bank. Timing is everything, and whether through luck or prescience, The International capitalizes on employing bad guys squarely in the crosshairs of American fury and bitterness. But this seemingly surefire recipe for box-office success is squandered on a thriller that, quite simply, forgets to be thrilling.
Louis Salinger (Clive Owen) has been on the trail of a corrupt bank for years. The former Scotland Yard investigator is now pushing pencils for Interpol but his mission remains the same—take down the International Bank of Business and Credit (IBBC), which he is convinced is involved in arms trading and massive money laundering for organized crime. Disheveled and on the edge, Salinger has made IBBC's demise his passion, to the exclusion of family, relationships, and even personal hygiene. Yet every time Salinger gets close to breaking the case, his witnesses end up dead, victims of convenient freak accidents.
Clive Owen as Louis Salinger
Joining him in his quest—for reasons not convincingly spelled out—is New York Assistant District Attorney Eleanor Whitman (Naomi Watts). Together they follow the money trail from Berlin to Milan to New York to Istanbul. IBBC has its tentacles in every country's government, allowing it to easily control the mechanisms of power that will legitimate its actions. When that doesn't work, hit men (including Brian F. O'Byrne) are tasked with eliminating anyone who gets in the bank's way, from turncoats in the organization to presumptive heads of state. As it turns out, IBBC more than just finances the world's war machines: "They don't want to control the conflict," one character states. "They want to control the debt that comes after the conflict." Soon IBBC will own the world.
The closer Salinger and Whitman get to uncovering the truth, the more danger they find themselves in. And if they want to take down the IBBC, they are going to have to go outside the traditional avenues of justice to do it. To do good, they'll have to get their hands very dirty.
Naomi Watts as Eleanor Whitman
The International is the worst kind of thriller. It spends two hours making you think you're watching an elaborate, multi-layered story only to be exposed, in the end, as transparent and straightforward. Worse, The International doesn't know what it wants to be when it grows up. For most of its leaden 118 minutes, it is a suspense thriller. But nearly an hour and a half into its running time, the film tries its hand at being an action film. It succeeds as neither—the thriller is nearly devoid of suspense and the action is too little too late. You can be Michael Clayton or you can be The Bourne Ultimatum, but apparently you cannot be both.
The razzle-dazzle showpiece of the film takes place at Manhattan's Guggenheim Museum. After treating us to a lecture on the necessity for complete discretion, IBBC sends a small army of Uzi-wielding assassins to kill Salinger in broad daylight in the (conveniently sparsely populated) museum. Very subtle indeed. Fifteen minutes later, the landmark's spiral rotunda and the art installations that surround it are converted into Swiss cheese. The explosive scene doesn't entirely work, but it does give the film a much-needed jumpstart to carry it through to its unsatisfying and crude denouement.
Some may appreciate The International's "how the world really works" premise, but the film, which was made before America's current economic crisis began, is unable to capitalize on the zeitgeist. True, the debonair, haughty European bankers make for an easy and opportune target, but the now exposed ineptitude of the true-life characters may undermine the film's premise of an unstoppable bank pulling political puppet strings.
Louis and Wilhelm (Armin Mueller-Stahl) have a little talk
Others will simply be turned off by the movie's muddled plot, tepid pacing, and ambiguous, unlikely third act. After two hours of telling us the IBBC is too monolithic, pervasive, and all-powerful to stop, The International expects us to believe that one crusading vigilante and the loss of a single client would be their undoing. The script was penned by a first-time screenwriter and it shows.
Giving us meaty characters in which to invest ourselves would have gone a long way to improving the situation. However, Owen and Watts have absolutely zero charisma. While Owen throws himself into his role with passionate if languid gusto, Watts is just plain awful. Normally a competent actress, she forgets everything she ever learned in acting class, inertly delivering her barely functional lines time and again.
It's been a long time since German director Tom Tykwer made the kinetic and creative Run Lola Run. And with each successive movie he's put his stamp on, it becomes increasingly clear that the success of that early effort was a fluke, rather than a clarion call heralding a new and exciting cinematic talent. Tykwer is a capable—and at times inspired—filmmaker, and he knows how to fill the globetrotting screen with slick, glossy images of carefully selected location eye candy. But he never manages to invest this paranoid thriller with the very thing it needed most—paranoia. Parallax View this is not. If there's one thing a film of this nature cannot afford, it's arriving on screen stillborn.
Article continues below
I wonder if the bad guys can see me if I hide behind this column'
The International makes the case that when an organization is so large, so influential, and so globally powerful, it cannot be destroyed through sanctioned, lawful means. Salinger is told that if he wants to bring the IBBC down, he must turn his back on legally accepted modes of justice. Only in going outside the bounds of law—in essence becoming a criminal himself—will he have any chance of success. Is he willing to do wrong to do right? And is he willing to endure the collateral damage that must occur as a result?
This premise, clichéd as it may be, is one of the film's only interesting angles and one of few opportunities to provide fodder for discussion after the credits roll. But The International never follows up with its ruffled protagonist. We never see him doing things all that differently than when he was supposedly a virtuous representative of Interpol. And we never learn if he feels his decision was the right one, allowing him to finally sleep at night. The film misses a perfect opportunity to examine the aftershocks of becoming evil to fight evil.
At one point in the film, after Salinger has managed to bag one of the baddies, he learns the difference between truth and fiction. "Fiction," he is told, "has to make sense." Not so. This movie is a work of fiction and it makes no sense whatsoever.
Talk About It
Discussion starters
"Sometimes," a character in the film says, "a man meets his destiny on the road he took to avoid it." Can you think of any times in your own life when this was true? What Old Testament book comes to mind? Hint: It involves a whale!
Is it ever right to do wrong? What if it is for the "right" reasons?
How far should we be willing to go in the pursuit of justice?
The Family Corner
For parents to consider
The International is rated R for some sequences of violence and language. For an R-rated movie, the profanity is fairly moderate. The film earns its rating almost entirely because of violence, particularly an intense and prolonged sequence involving a shootout in a museum after which countless bullet-ridden and blood-soaked bodies litter the floor. There is no nudity or sexual elements whatsoever.
How Jesus and the Powers, cowritten with Michael F. Bird, calls Christians into the political sphere.
Interview by Stefani McDade
The International
1 of 4
Clive Owen as Louis SalingerNaomi Watts as Eleanor WhitmanLouis and Wilhelm (Armin Mueller-Stahl) have a little talkI wonder if the bad guys can see me if I hide behind this column'