Rating summary

Movie		4.0
Video		4.5
Audio		4.0
Extras		2.5
Overall		4.0

The American Blu-ray Movie Review

The Existential Misadventures of an Assassin in Love...

Reviewed by Kenneth Brown December 14, 2010

The American has divided audiences and critics into two distinct, equally combative camps, leaving the uninitiated wondering whether Control director Anton Corbijn's slowburn sophomore effort is a "pretentious Euro-snore that should occasion a fraud prosecution for any marketer who calls it a thriller," or if it just might be a "rare grownup thriller that knows the link between peace and danger, and the tension that comes from both." As luck would have it though, determining whether you'll be infuriated or transfixed by The American is quite simple, so long as you're able to answer a seemingly unrelated question: what was your reaction to Steven Soderbergh's Solaris? Granted, the two are entirely different films with entirely different sensibilities, but they have far more in common than not. Those who found Solaris to be a tedious, aggravating, pretentious piece of self-important arthouse cinema will walk away from The American with a strikingly similar opinion, while those who were mesmerized by Soderberg's ambiguous, introspective, deceptively complex sci-fi stunner will find Corbijn's subdued, enigmatic, beautifully shot assassination tango to be both a gripping modern Western and an absorbing character study.

Il Americano...

After a near fatal run-in with a Swedish sniper leaves his lover (Irina Björklund) dead and his whereabouts known, a master assassin and skilled gunsmith named Jack (George Clooney) seeks solace in Castel del Monte, an Italian comune far removed from his cagey handler, Pavel (Johan Leysen). There, he indulges in the company and counsel of two locales: Father Benedetto (Paolo Bonacelli), an elderly priest and perceptive confidant, and Clara (Violante Placido), a lovelorn prostitute who develops genuine affection for her newest client. But peace and quiet aren't in the cards for Jack, and trouble soon comes calling. The exhausted assassin accepts one last assignment from Pavel -- supplying a custom-built sniper rifle to a fellow hitter named Mathilde (Thekla Reuten) -- and begins to suspect his old friends, the Swedes, have tracked him to Italy. What follows is a meticulous, unexpectedly tense game of cat and mouse in which Jack has to decipher Pavel's intentions, approach Mathilde with caution, determine whether Clara is worthy of his trust, dodge whatever would-be assassins roll into town, and face the realities of his chosen profession.

The American isn't an action thriller in the vein of the Bourne films by any means, nor is it a rapidfire drama in the vein of Michael Clayton. Guarded, discreet and meditative, it's as cautious and calculating as its reticent assassin; an unabashed, unapologetic ode to Leone's simmering spaghetti westerns and tight-lipped anti-heroes. Its steps are delicate and deliberate, its gunplay brief but invigorating, its characters shrouded in mystery from beginning to end. Jack may have a first name, but he casts it aside with the ease of a man whose real name will never be known. His redemption lies in the words of a priest and the heart of a hooker -- an honest but imperfect angel on one shoulder, a gracious earthly devil on the other -- and his internal crisis permeates the world around him. Surviving on instinct alone, his lifelong isolation has transformed him into an empty shade of a man, and the spark of love that flickers behind Clooney's soulful eyes weave a long, tragic tale Corbijn and screenwriter Rowan Joffe dare not put into words.

The cast responds in kind. Clooney withdraws into his own shadow and conceals everything beneath a carefully constructed exterior; the only secrets he reveals are those that seep through the cracks in Jack's crumbling walls, he tucks any hint about his character's past away from prying eyes, and his measured thousand-yard stare and brimming vulnerability offer the only window into Jack's soul the audience is afforded. Thankfully, the film's smartly assembled supporting actors rise to the occasion as well. Leysen is as cryptic as he is menacing, and Pavel is all the more effective for it; Reuten is a splintered shard of ice, drawing blood with each scalpel stare and leaving little doubt as to whether or not she poses an immediate danger; Bonacelli is an obvious choice for Father Benedetto, but for good reason; and Placido lends some much-needed (albeit remarkably refined) world-weary humanity to a world of detached killers, remorseful assassins and oblivious townsfolk. And Castel del Monte? A claustrophobic labyrinth of cobbled streets and narrow alleys ideal for the film's nerve-racking manhunts. Make no mistake though, The American is Clooney's movie. He knows it, Corbijn knows it, everyone in front and behind the camera knows it. Yet he plays each scene with such restrained but remarkable range, with such generosity toward his fellow castmates, that he proves himself to be a true actor's actor; a masterclass performer fully invested in the film rather than the spotlight.

If anything, The American is weighed down by its own pretentious pursuits. Corbijn's existential flourishes are too transparent (butterflies and serene picnics are saddled with more meaning than they actually elicit), parallel scenes risk being more distracting than revelatory, and the filmmakers' humorless, unflinchingly serious tone is sometimes a burden. But both issues are easy to overlook, particularly when the film's performances and photography are as hypnotic they are. I have no doubt The American will continue to split audiences. In all likelihood, it will be largely forgotten in five years or so; a lesser Clooney vehicle with little staying power. But I'll remember it. As slowly as its story creeps along, I thought it had a definite, decisive momentum. As obtuse as some will find its characters, I thoroughly enjoyed filling in the countless blanks Corbijn and Clooney drew. As nonsensical as some critics have labeled its third act, I wasn't disappointed in the slightest. Again, if you love Solaris (and consider the word "slow" a descriptor rather than an insult), there's a good chance you'll appreciate The American for what it is. If you loathed Soderbergh's divisive genre pic though (or deem slower films a waste of time), chances are you'll despise Corbijn's evasive Western. Long story short? Some have found it to be infuriating; I found it to be arresting.

The American Blu-ray Movie, Video Quality 

Love or hate The American all you'd like; there's no denying how fantastic it looks in high definition. Universal's 1080p/VC-1 encoded transfer is gorgeous from beginning to end, and leaves little room for criticism. Martin Ruhe's adaptive palette -- sterile and detached one moment, warm and inviting the next, vibrant and salacious still another -- is as lovely as it is affective, skintones remain lifelike throughout, black levels are convincing, and the few contrast inconsistencies that arise are inherent to Ruhe's original photography. But it's the presentation's detail that will drop the most jaws. Fine textures are crisp, clean and incredibly well-resolved (be sure to take a moment to bask in the majesty of almost any closeup), edge definition is sharp and natural (with only the slightest hint of intermittent ringing), and delineation rarely falters. Significant artifacting, crush, banding, and smearing aren't anywhere to be seen, and a single overhead shot of the Castel del Monte rooftops is the sole source of shimmering I encountered. My only complaint? An early morning scene between Clooney and Bonacelli is peppered with noise and hindered by dawn's looming light. It too is attributable to Ruhe's photography, but the result is more distracting and unsightly. That being said, it's by no means a deal-breaker, and retreats as suddenly as it attacks. (In fact, if the scene in question weren't so crucial to the film, I probably wouldn't even mention it.) As it stands, Universal's spectacular video transfer is the highlight of an already impressive release.

The American Blu-ray Movie, Audio Quality 

Universal's DTS-HD Master Audio 5.1 surround track isn't going to wake the neighbors. Actually, if it weren't for a few sonic flurries, it wouldn't even wake the kids. As subdued as the film's protagonist, as contemplative as his innermost thoughts, the quality of the mix hinges on its atmosphere and authenticity, both of which are involving and commendable. Ambience is persistent, believable and utterly enveloping, and the rear speakers never idle. Even the quietest scenes are pulsing with activity, be it a soft breeze wafting through a tranquil forest, the hushed conversations at a streetside cafe, the distant wheen of a passing Euro-car, poignant notes in Herbert Grönemeyer's wonderfully distressed score, or the simple stacked-room acoustics of a small apartment. Directional effects are deadly in their accuracy, cross-channel pans use stealth to their advantage, and dynamics, reserved as they may be at times, are excellent all around. LFE output is restrained as well, but readily reveals its command of the soundscape whenever called upon. The roar of a passing train, the heart-pounding intensity of a brief car chase, the heavy thock thock of Jack's custom sniper rifle... there isn't a misstep to be found, at least not within Corbijn's established framework. Dialogue is isn't as impeccable -- a few lines languish and exterior voices aren't always as distinct and precise as they could be -- but there aren't any substantial problems of note (certainly none that detract from the overall experience). All in all, Universal's lossless track complements its video transfer; a film like The American couldn't ask for much more.

The American Blu-ray Movie, Special Features and Extras 

Universal has assembled a small but serviceable supplemental package for The American. Clooney's absence from the proceedings is a disappointment, sure, but director Anton Corbijn's thoughtful overview of the film's production, performances, story, themes and characters makes the material worthwhile.

• Audio Commentary: While Corbijn is reserved and deliberate throughout, his commentary is extensive and and revealing. I didn't listen to the entire track in one sitting (three actually), but I found it to be invaluable all the same. If you have any affection for The American, be sure to give Corbijn's chat a shot.
• Journey to Redemption (HD, 11 minutes): Go behind the scenes of The American with key members of the cast and crew.
• Deleted Scenes (HD, 6 minutes): Five short, largely inconsequential extended and deleted scenes.
• My Scenes Bookmarking



The American Blu-ray Movie, Overall Score and Recommendation 




The American isn't an acquired taste, at least not in the traditional sense. It's a divisive, do-or-die, love-it-or-hate-it affair through and through. I was transfixed by its performances, cinematography, pacing, story and structure, but I know others will be turned off by the arguable air of pretension that haunts the proceedings. Universal's Blu-ray release is more clear-cut. Its proficient video transfer is striking and rewarding, its faithful DTS-HD Master Audio track is invigorating and immersive, and its simple but satisfying supplemental package will sustain fans of the film. I would strongly advise renting The American before considering a purchase. It isn't the sort of film anyone should buy on a whim.