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Editorial
Amazon.co.uk Review
Robert De Niro stars as an American intelligence operative adrift in irrelevance since the end of the Cold War--much like a masterless samurai, aka "ronin". With his services for sale, he joins a renegade, international team of fellow covert warriors with nothing but time on their hands. Their mission, as defined by the woman who hires them (Natascha McElhone), is to get hold of a particular suitcase that is equally coveted by the Russian mafia and Irish terrorists. As the scheme gets underway, De Niro's lone wolf strikes up a rare friendship with his French counterpart (Jean Reno), gets into a more-or-less romantic frame of mind with McElhone and asserts his experience on the planning and execution of the job--going so far as to publicly humiliate one team member (Sean Bean) who is clearly out of his league. The story is largely unremarkable--there's an obligatory twist midway through that changes the nature of the team's business--but legendary filmmaker John Frankenheimer (Seconds, The Manchurian Candidate) leaps at the material, bringing to it an honest tension and seasoned, breathtaking skill with precision-action direction. The centrepiece of the movie is an honest-to-God car chase that is the real thing: not the how-can-we-top-the-last-stunt cartoon nonsense of Richard Donner (Lethal Weapon) but a pulse-quickening, kinetic dance of superb montage and timing. In a sense, Ronin is almost Frankenheimer's self-quoting version of a John Frankenheimer film.There isn't anything here he hasn't done before but it's sure great to see it all again. --Tom Keogh
Editorial
Amazon.co.uk Review
Robert De Niro stars as an American intelligence operative adrift in irrelevance since the end of the Cold War--much like a masterless samurai, a.k.a. "ronin". With his services for sale, he joins a renegade, international team of fellow covert warriors with nothing but time on their hands. Their mission, as defined by the woman who hires them (Natascha McElhone), is to get hold of a particular suitcase that is equally coveted by the Russian mafia and Irish terrorists. As the scheme gets underway, De Niro's lone wolf strikes up a rare friendship with his French counterpart (Jean Reno), gets into a more-or-less romantic frame of mind with McElhone, and asserts his experience on the planning and execution of the job--going so far as to publicly humiliate one team member (Sean Bean) who is clearly out of his league. The story is largely unremarkable--there's an obligatory twist midway through that changes the nature of the team's business--but legendary filmmaker John Frankenheimer (Seconds, The Manchurian Candidate) leaps at the material, bringing to it an honest tension and seasoned, breathtaking skill with precision-action direction. The centrepiece of the movie is an pedal-to-the metal car chase that is the real thing: not the how-can-we-top-the-last-stunt cartoon nonsense of Richard Donner (Lethal Weapon), but a pulse-quickening, kinetic dance of superb montage and timing. In a sense, Ronin is almost Frankenheimer's self-quoting version of a John Frankenheimer film. There isn't anything here he hasn't done before, but it's sure great to see it all again. --Tom Keogh
Not, Alas, a Keating Biopic
Review date: 2008-09-18 Rating: 2 out of 10
This film left me with the distinct feeling of having been ripped-off. A poster featuring some very purposeful-looking criminal types, a European setting, a famous director - there initially appeared to be much on offer. The reality, however, was quite different. In this mindless mess of a movie, Robert De Niro reprises his stock `90s role of gun-toting anti-hero and, in the company of a ragbag of international B-listers, takes a trip into the heart, not of darkness, but of dullness. The basic story is, well, pretty basic. The film consists mostly of a series of ridiculous stand-offs and arguments between De Niro and the other players, who comprise a gang engaged in some kind of convoluted theft. Oh, and there are couple of car-chases - wow! Jean Reno becomes De Niro's "friend" in the course of the film and, in a scene that is baffling in its daftness, finds himself enlisted to perform a bullet extraction operation upon the great man, while the latter himself supervises the procedure from his own sick bed. The inclusion of another absurd scene, where De Niro and a rather dour Natasha McElhone pose as tourists and have a bystander take about fifty photographs of them (in order to get pictures of something that is going on behind them), defies explanation. Nor can the whole "ronin" motif be accounted for except, perhaps, as some kind of backhanded insult directed at the viewer. On the whole, a massively disappointing trip down nausea lane.