A young woman discovers her father isn't who she thinks he is in this globe-trotting thriller from the 'Divergent' helmer.
Sometimes, the more a movie strains for realness the more fake it seems. Such is the case with the new thriller directed by) that was filmed in so many colorful international locations you practically feel the need for a passport just to watch it.) is not a successful businessman dealing in international real estate but rather a former spy involved in nefarious goings-on.
The screenplay by Burger and Olen Steinhauer feels as generic as a video game, from Maya finding her father’s passports featuring fake names to his being supposedly kidnapped to the hard drive containing top-secret documents that might as well be labeled “MacGuffin.” The film moves so briskly that for a while you can tolerate the contrivances, and the real-life locations — including New York City, Cairo, New Delhi and Seoul — rival that of any James Bond film.
It also helps that Dynevor, clearly a star on the rise, displays a fiercely compelling and increasingly edgy screen presence, and that Ifans is such an interesting actor that he’s able to invest his character with intriguing shades of ambiguity. You can tell they’re both enjoying the guerilla-style filmmaking tactics, free of such encumbrances as boom mikes, key lights and large crews in their line of sight.
But the gimmickry ultimately wears thin and you find yourself thinking less about the inventive way the scenes were shot (there’s a sequence featuring the lead actors on a plane that was apparently filmed without permission, which, by the way, Michael Mann did way back in 1986’skeeps attempting to pump up the suspense, as with a scene in which Maya’s father calls her at a restaurant and tells her “Leave, now!” — but the plot gears grind away so mechanically that you’re never emotionally...
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