This effort made for cable television is rather vaguely based upon a popular novel by Norman Garbo, with the film's diffused point of view the most obvious separative element from the 1980 original. Bruce Greenwood plays Richard Berk, an American intelligence operative who has become soured on his occupation and has opted to endure plastic surgery in order to have a changed appearance and a new existence away from his agency since he, naturally, would not be permitted to simply resign. He begins a new career as an artist along with a new vocation as advisor to underprivileged youth, but ennui and a strong desire to see his former wife Angela (Catherine Hicks), who had divorced him because of his trade, soon has him heading for a dangerous plight when he discovers that she is being surveilled. After Angela has determined that Richard has only friendly intent toward her, the pair become entangled in what appears to be an attempt to eliminate the newly anonymous spy. Most of the dialogue, penned by director Philip Messina, is engaging and even when predictable does not seem hackneyed, thanks to able acting, but it seldom serves as appropriate commentary for the action that is largely improbable in a plot filled with holes. As is too often the case with cinema based upon any element that includes espionage, there is precious little realism introduced into the screenplay, as an imperfect sense of that shadowy game leads to fantasy. Catherine Hicks performs splendidly as one who desperately tries to understand what might be causing her feelings of anxiety that she is powerless to overcome, easily garnering the film's acting honours with her highly expressive face and eyes, and Greenwood, Michael Tucker and Tim Choate are also convincing in a well-cast production. Director Messina generates moments of suspense during the opening scenes, and valuable contributions come from Johnny Jensen (cinematography), Woody Crocker (art design), David Handman (editing) and Shelley Komarov (costumes), but a more rigorous standard of control is required to offset plotting deficiencies.
2 Reviews
You've heard of Spy Hard. This is Spy Ridiculously Impossible.
mark.waltz6 August 2021
Warning: Spoilers
One of the most convoluted spy thrillers I've seen outside the plethora of hideously ridiculous dozens of 60's Bond/Matt Helm thrillers, this is a frustratingly messy cable movie that takes a ton of patience to get into. Bruce Greenwood wants out of the spying game, and that's not very easy. In fact, it seems that getting out of the mob is easier, and several people end up dead because of his desires. Along the way he befriends a rather pesky neighbor (Tim Choate) and is reunited with wife Catherine Hicks after he has plastic surgery. Choate is far too friendly so he becomes suspect immediately, trying to get Greenwood involved in teaching poor children about art, his new line of work. The twists and turns are curvier than Lombard Street in San Francisco, and it becomes very frustrating to try and remain involved. Action wise, it never stops, but the frustrating twists makes for a frustrating experience. Ned Beatty comes in out of nowhere, seemingly as a variation of the sinister character he played in "Network" as the new head of the CIA. I don't necessarily expect a by the numbers plot in a film like this, but I also don't expect to keep rewinding it or start over from the beginning to figure out what I missed.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
