A Most Wanted Man
The material is a natural fit for director Anton Corbijn, who seems to like directing films about slowly fitting together seemingly disparate pieces just as much as le Carre likes writing material with the same sense of style and pacing. “A Most Wanted Man” is a thoroughly modern tale about current anti-terrorism measures that still retains a classic sensibility and feel.
As ever, le Carre remains interested in subverting the spy genre in a major way (though even “A Most Wanted Man” plays around with the old “something bad happened in Beirut” slice of story) – in his world, spying isn’t a sexy business, it’s just like any other business, one prone to both double-crossing and just plain boredom. The film sags in the middle, as Corbijn and screenwriter Andrew Bovell struggle to push pieces of narrative together while also unfurling true motivations and emotions. And while the final act might not surprise or stun, it does feature some classic le Carre movements, some trademark Corbijn ease, and a terrifying Hoffman bellowing at the sky – not so bad for just another spy film.
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