#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Alone among assassins, Jack is a master craftsman. When a job in Sweden ends more harshly than expected for this American abroad, he vows to his contact Pavel that his next assignment will be his last. Jack reports to the Italian countryside, where he holes up in a small town and relishes being away from death for a spell. The assignment, as specified by a Belgian woman, Mathilde, is in the offing as a weapon is constructed. Surprising himself, Jack seeks out the friendship of local priest Father Benedetto and pursues romance with local woman Clara. But by stepping out of the shadows, Jack may be tempting fate.
Plot: Dispatched to a small Italian town to await further orders, assassin Jack embarks on a double life that may be more relaxing than is good for him.
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|6.3/10 Votes: 91,999|
|5.9 Votes: 949 Popularity: 14.204|
It’s slow, but on purpose, and it has something approaching lyricism
The American (2010)
Like many George Clooney movies, this one is cinematically superb. You can pick the obvious, like his “Good Night and Good Luck” which he directed and had filmed in gorgeous black and white, or “Solaris” for director Soderbergh’s lyrical if romanticized sensibility. Or “Syriana,” “O Brother,” “Three Kings,” and “The Thin Red Line” all in the last fifteen years, all filmed with love, and generally with good effect.
What this means is he is more than an actor, he’s an influence behind the scenes. And he’s good for the movies (the industry), even if sometimes he pushes his movies into a slickness that is dulling. And that might be the flaw in “The American,” the reason why this doesn’t quite rise to the poetry it intends. There are aspects that make it one of those films that will view really well fifty years from now. In fact, a lot of it is wordless and so it will be culturally timeless. But it also lacks that daring taut emptiness or plain beautiful long pace of its better intentions. That is, it doesn’t go far enough.
“The American” is not about much, in a way. There is the LeCarre sense of a specialized spy alone in a dangerous world, and it’s the aloneness that leads to lots of inner thoughts, an attempt to figure out what really matters in his life. And that’s why it works in a bucolic way. The ostensible plot is about one final professional job the man has to do, making a highly specialized gun. There are enough scenes of him working on it on a kitchen table, almost caressing the machinery of it, high in a mountain village in Italy, that we can appreciate it on a simple level of craft.
There are women (always too beautiful for their own good) and there are evil men on his tail (ruthless and never quite as clever as Clooney). In other words, there are the usual elements of this kind of world. But most of the time the movie takes its hold on a more direct, sensory level. Some people will find that simply boring. Not enough “happens.” But if you let it envelop you, and if you aren’t in a hurry, and if you can see it on a larger screen (to maximize those sensory effects), it might really impress you.
Finally, it has to be admitted that the plot is a bit of a borrowing from “Day of the Jackal.” Some of the acting is mediocre, too, but not Clooney, and not his one main sexual interest, played by Violante Placido, though she doesn’t have a big role. The countryside is so beautiful you might be satisfied just with that, actually. Sit back and watch.
This was my second time around and I didn’t realize it and I almost didn’t keep going because the simple plot (with lots of peripheral characters) is important, and I remembered a couple of the big twists. But the movie has such a beautiful, flowing narrative pace and visual fluidity I ended up watching it again, every minute. And I probably liked it more this time, not worried about the events as much as how they were shown.
Well… hem… hem… let me explain something…
I will add myself to the group of people bashing this movie, but I will be so kind to tell you the exact reasons why. First of all, do not be offended, but the reviewer before me – nysalesman100-1 is absolutely right at his assumptions that a group of people who does not understand the basics of cinema and the European cinema at whole saw something they don’t understand (in other words it is not coming straight to their brains as all Hollywood blockbusters nowadays) and they call it brilliant and magnificent. Do not delude yourself, this is decent movie, but far from brilliant, let alone classic one. In fact, this is very pretentious movie that George Clooney has produced namely in order to position himself in the art movie circles (but just in the mind of the low than average US audience) and maybe to line himself up to names like … let me see … Jean-Pierre Melville, Louise Malle, Fransois Truffaut, Rene Clair, non-french ones like Aki Kaurismaki… Jim Jarmush… many others? Well, let me tell you something, Mr. Clooney – in order to make movies like those of monsieur Melville, you have to be Jean-Pierre Melville himself (R.I.P). I am quoting the name of the big master monsieur Melville very deliberately, because it’s him who Anton Corbijn and Clooney want to copy and namely his masterpiece “Le Samurai” from 1961. Well, they are far from getting any this time. Not only that the dark and precious atmosphere of the 60s is missing, monsieur Melville is missing too, because only he could have saved this movie from failure. Comparising Clooney with the dark, steel hard and impeccable Alain Delon in this movie is out of the question – never mind the fact Delon has allowed to speak very rarely in the movie he plays the role absolutely perfect, making it the top of his career in these years. What do we have here – random scenes “Clooney have a cup of coffee”. “Clooney having sex” (I am not against erotic scenes in the mainstream movies but 10 minutes mindless copulation is far too much, the only reason why it is there is the female audience and not the essence of the movie and in the book) The script is full of holes, illogical and totally fake, something JP Melville had never been accepted. Some major questions remain unanswered and if you still think this is because the movie was art, you delude yourself for the second time. In general, an good art (and not only) movie does not scream the whole time “I AM GREAT BECAUSE I THINK SO” – it is good just because it is good, there is no need to be over explained or underlined. I am not going to precise the script holes, because there are many of them and I am as short as 1000 words, but let me say again that it is not sufficient to copy the greatest in order to be great – it needs to be exactly them in order to do so.
Sorry, Mr. Clooney, you failed this time.
Original Language en
Runtime 1 hr 45 min (105 min)
Genre Crime, Drama, Thriller
Director Anton Corbijn
Writer Rowan Joffe (screenplay), Martin Booth (novel)
Actors George Clooney, Irina Björklund, Lars Hjelm, Björn Granath
Country USA, UK
Awards 4 nominations.
Production Company This Is That Productions, Smoke House, Greenlit Productions
Sound Mix Dolby Digital, DTS
Aspect Ratio 2.35 : 1
Camera Arricam LT, Cooke S4 Lenses, Arricam ST, Cooke S4 and Angenieux Optimo Lenses, Arriflex 435, Cooke S4 Lenses
Laboratory Technicolor Creative Services, London, UK (digital intermediate)
Film Length 2,850 m (Portugal, 35 mm), 2,867 m (Sweden)
Negative Format 35 mm (Kodak Vision3 250D 5207, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (2K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (anamorphic), D-Cinema