This is a slick little burst of adrenaline.
Director David Mackenzie’s sharp handling of Justin Piasecki’s original script evokes fond memories of 1970s “paranoia thrillers” such as The Parallax View, The Conversation and Executive Action.
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| Ash (Riz Ahmed), well aware that his client's movements are being monitored at all times, finds it increasingly difficult to help her evade this surveillance. |
Ash (Riz Ahmed), a former failed corporate whistleblower, nearly killed himself via guilt-induced alcoholism. Now several years sober and faithfully attending AA meetings, he has re-invented himself as a solitary “fixer” who helps others in similar dire straits: people who attempt to be a whistleblower, but then fearfully panic and wish solely to return the stolen data, in the hopes of being left alone.
Ash acts as a go-between, brokering lucrative payoffs between corrupt corporations and the individuals who threaten their ruin. He arranges for the data to be returned, while retaining a carefully protected copy himself, as a means of ensuring his client’s ongoing safety.
Ash remains a unseen figure in the shadows, keeping his identity secret via meticulous planning and an exacting set of rules. He operates via disguises, discarded phone SIM cards, U.S. Post Office drops under multiple fictitious names — often in other cities and states — while living in a high-security building and masterminding each operation from an equally fortified “war room.”
He never speaks to a client, instead maintaining anonymity via the “Tri-State Relay Service,” which provides specially trained operators to relay telephone conversations between people who are deaf, hard of hearing or speech-disabled. He types his messages; they’re communicated verbally to the client by a relay operator; the client responds verbally, which in turn is relayed back to Ash’s laptop.
It’s fascinating: slow, but quite effective.
The story’s prologue finds Ash observing the conclusion of his most recent assignment, as Hoffman (Matthew Maher), a disillusioned and frightened ex-pharma executive, has a final meeting with his former boss (Victor Garber, arrogantly note-perfect in a fleeting cameo). Ash then watches, clandestinely, as Hoffman boards a train to begin a new life.
Even here, Mackenzie and Piasecki play with us, prompting a frisson of worry — for a couple of pulse-quickening seconds — about whether Hoffman is safe.
Ash’s careful precautions notwithstanding, it’s still scary, nerve-tightening, high-adrenaline work, and each assignment takes a heavy emotional and physical toll. Ahmed persuasively depicts the ongoing battle between this man’s emotional fragility, and his desire to Do Good.
Meanwhile...
Sarah (Lily James), a biotech scientist who snatched some scary data about her ex-employers, has become increasingly panicked by how she’s being observed and followed by a quartet of individuals in a dark van. She’s spent, exhausted, and just wants to give the stuff back, in order to resume her normal life.
Conventional lawyers want nothing to do with her, but one — familiar with Ash’s operation — gives her his contact info. Although clearly reluctant to tackle another case so soon, Ash researches her profile, online presence and corporate history, and accepts the assignment.
We viewers therefore are placed in Sarah’s shoes, as she learns and is forced to accept the edgy weirdness of Ash’s methods of remaining untraceable in our totally trackable, digital age. His bottom line is unyielding: She must obey his every instruction precisely, or he’ll walk away.
Ash quickly discovers that she’s right to be worried; she is indeed being scrutinized by a professional team headed by Dawson (Sam Worthington). His colleagues are Rosetti (Willa Fitzgerald), Ryan (Jared Abrahamson) and Lee (Pun Bandhu), and they’re scary-smart, quick-witted and very adept at all manner of surveillance.
In short, they’re capable adversaries. And the bigger question: Who’s pulling their strings?
Given that this is a movie, what follows obviously will involve all manner of moves, counter-moves, near-misses, unexpected hiccups, misguided assumptions and occasional flat-out mistakes. Mackenzie and Piasecki tighten the screws mercilessly, our nervous apprehension mounting every step of the way.
We know that one or both of our protagonists will screw up, somehow, and the mounting suspense becomes almost unbearable (in the best possible way).
The always enjoyable James — who seems to be everywhere these days! — delivers a credible blend of confusion, fear and mounting curiosity. Obeying all of Ash’s convoluted rules and demands is difficult, and Sarah obviously is somewhat reckless, given the predicament into which she has placed herself.
Worthington’s Dawson is ruthless and unstoppable, often just a few minutes too late to cause a problem.
Tony Doogan’s suspenseful score is supplemented by pop tunes often placed for ironic emphasis, such as ASG’s “Survive Sunrise,” Bush Tetras’ “Too Many Creeps,” Agnes Obel’s “(I Keep a) Close Watch” and a telling reference to The Who’s album, The Kids Are Alright.
Mackenzie and Piasecki build their story to a climactic and satisfying finale (unlike too many thrillers that don’t know how to resolve their elevator-pitch first acts).
This definitely will be an enjoyable visit to your local cinema.
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