by Kristin Ciliberto, Contributing Writer
Based on the 2015 book of the same name, All the Old Knives, by Olen Steinhauer, who also wrote the screenplay for the film, is a standard, generic spy thriller. A good way to see this film is like watching a blandish game of chess waiting for something exciting to happen. Danish director Janus Metz presents audiences with a classic whodunit mystery starring Chris Pine, Thandiwe Newton, Laurence Fishburne, and Jonathan Pryce. Former lovers and two CIA agents Henry Pelham (Pine) and Celia Harrison (Newton) reunite years after a failed rescue attempt. However, the lines begin to blur between the passion and the profession. Henry is out to find the mole who leaked the information that cost the lives of 120 people.
The film overall is a slow burn and an old school spy adventure. But there is no doubt about the stellar and steamy connection Newton and Pine have, as the story involves mystery, sex, betrayal, and love. The two share witty and friendly conversation pouring glasses of wine at a posh and elegant wine bar, revisiting their past. Newton is a character who portrays a sense of intrigue and mystery. Pine has been perfect to take on leading man roles, especially in spy films as he tries to rekindle a love he once had, while looking handsome in just about every scene he is in. However, during the conversations, the characters come off flat and dry as if they were playing cat and mouse, both knowing more than they believe. Both actors are extremely talented, and it’s a shame these roles do not allow them to shine. Things do not get fully intensified until an hour into the film, while the film makes use of a highly underused Fishburne.
The plot jumps back and forth as audiences try to figure out who did it. The film’s mission is somewhat forgettable, but certainly predictable given the twists and turns of events. The twist does not feel quite earned and leaves a question of, “why?” At times, the film comes off bearing little tension — it doesn’t quite hit the boiling point until over an hour into the film. By then, it’s difficult for audiences to get invested. There is tension during the dinner conversation, but after that, the film cuts to a flashback and loses the sizzle Metz and Steinhauer we’re longing for. I was also hoping to see the strong direction from Metz as well because the episodes he directed of ZeroZeroZero were incredible; it’s too bad his work didn’t shine here.
This film is a run-of-the-mill spy thriller showing the story of ex-lovers that has several dramatically dull moments, but it’s all about the performances that keep the audiences glued. Given the fact that I never had the chance to read the source material, it makes me question how it defers from the film and see if this was worthy enough it translates to screen.
Score: 6/10