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THE RECRUIT
"For
the first of its nearly two hours, The Recruit is just
the sort of diverting, slick nonsense you expect and want when handsome
devils like Al Pacino and Colin Farrell play CIA spooks
the
film has a setup nearly as preposterous as Spy Game,
Tony Scott's superior confabulation of guns, guts and blond-on-blond
glamour. Only this time everyone's a brunet
no matter how seriously
everyone works to make the CIA impossibly sexy, the illusion that
these pencil pushers are incarnations of Bond, James Bond, is difficult
to sustain. Like Maid in Manhattan and Pretty
Woman, The Recruit is little more than a fairy
tale, one in which the prince gets to go to the ball before shooting
it to smithereens." --Manohla Dargis, The Los Angeles Times
"There is one thing everybody associated with the film wishes
to keep you from noticing
They know it's old and it's weak
and it's been done a thousand times before
They know it can't
speak for itself, that its devices are threadbare, its characters
cliches, that nothing is at stake, that no passion can be found
anywhere. So they gin everything else up, until the story all but
goes away and you're left with giant faces, star charisma, airbursts
of saliva, those crashing cars, a coupla chases and gunfights and
all that thumpa-thumpa music
It's nothing but style and noise,
threadbare of content, empty of ideas. Is it anything? Not really."
--Stephen Hunter, The Washington Post
"The derivative Spy Game plot is dime-store Jerry
Bruckheimer fantasia--a real CIA agent would undoubtedly find it
uproarious that anyone would take the bountiful double-crosses and
outrageously earnest patriotic gibberish seriously
Why an actor
of Pacinos caliber would opt to take on such a lifeless script
is a slightly more intriguing mystery, though at least it gives
him a chance to run through obstinately weird bits about heavenly
breakfast burritos and pissing like a racehorse every two hours.
Farrell, though, is getting more inert with each passing role (maybe
its his reliance on that torpid American accent), and hes
thoroughly upstaged by Bridget Moynahan as a foxy, no-nonsense trainee
with whom he gets unwisely involved." --Chuck Rudolph, Slant
Magazine
"There is much darkly mysterious talk in the new CIA thriller
The Recruit about how things are not what they seem;
but for most of this movie, things are exactly what they seem--mediocre
Farrell
is all intensity and no nuance. Pacino is in full, flamboyant hoo-hah
mode as a person who is supposed to be invisible. Pacino can play
many things, but covertness is not his strong suit." --Peter
Rainer, New York
"For all of its slick, manufactured suspense, and a surprise
twist that will come as a surprise to exactly no one, this
movie, directed with shrugging professionalism by Roger Donaldson,
belongs to a very special genre: the Al Pacino crazy mentor picture.
Examples include Donnie Brasco, Scent of a Woman,
Devil's Advocate and Any Given Sunday. In
each of these movies, Mr. Pacino is paired with a younger actor
to enact a peculiar generational battle whose outcome is usually
a mutual learning of lessons
what Mr. Pacino provides is an
acting lesson, one that Mr. Farrell would do well to heed. In an
unimaginative, by-the-book movie like this one, the best thing an
actor can do is dare to be strange." --A.O. Scott, The New
York Times
"The Recruit cruises along nicely for an hour or
so, propelled by a likable hero (Colin Farrell) and a story that
keeps him--and us--constantly off balance as to what's real life,
what's a cooked-up training exercise, and whether there's any sure
way to tell the difference. Then the picture stumbles badly, spinning
into a series of standard-issue shootout and car-chase scenes that
even Farrell's earnest charm and Pacino's cocky charisma can't salvage.
But more important, it's questionable
whether moviegoers will line up for a story with such skeptical
attitudes toward government spying at a time of public concern about
US preparedness against international threats." --David Sterritt,
The Christian Science Monitor
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