In The International, Interpol Agent Louis Salinger and Manhattan Assistant District Attorney Eleanor Whitman are determined to bring to justice one of the world's most powerful banks. Uncovering illegal activities including money laundering, arms trading, and the destabilization of governments, Salinger and Whitman's investigation takes them from Berlin to Milan to New York and to Istanbul. Finding themselves in a high-stakes chase across the globe, their relentless tenacity puts their own lives at risk as the bank will stop at nothing - even murder - to continue financing terror and war.Written by
During the movie, Eleanor (Naomi Watts) trades SMS text messages with a contact. The number which identifies the sender on her Blackberry is +352 22 28 09: the real phone number for the Luxembourg City Tourist Office. See more »
The close-up of the spike mike hidden under Skarssen's lapel shows an obvious lump and a lapel cut that is distinctly different from the following fuller upper body shot. See more »
Listen, I'm from the Bronx, so you need to keep it simple. Why is the bank buying all this missile-guidance stuff from Calvini? - I don't get it.
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During the credits fade-in on the second and third newspaper printed articles, look above the main story of focus and you will see articles that reference a company by the name of SuckleOil, which is most likely a nod to Producer Richard Suckle. See more »
I was persuaded by my brother to see this film. I wanted to see another one but since he was visiting I agreed with his choice, and was surprised to find myself liking the film very much. OK, the script could be a little better, but the direction and acting were very good, even down to the supporting players such as the actors who portrayed the two NYC cops who assist the main character, Interpol agent Sallinger (Clive Owens), once the story moved to NYC. What I particularly liked was the way the story was told cinematically rather than through a lot of verbose dialogue. It seemed to me like a Bourne thriller for adults. No kinetic hand-held camera action, but smooth visually appealing cinematic exposition the way Hitchcock did it in his prime. Even the closing credits were used effectively to give a rather downbeat dénouement to the film.
In short, an entertaining movie that alleviated the February blues.
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