November Man, The (2014) [Blu-ray]
Action | Crime | Thriller
Tagline: A spy is never out of the game.
Pierce Brosnan stars in this action-packed spy thriller set in the ruthless world of international espionage. Code named "The November Man," Peter Devereaux (Brosnan) is a lethal and highly trained ex-CIA agent, who has been living in Switzerland. When
Devereaux is lured out of retirement to safeguard a beautiful witness targeted for assassination, he's drawn into a deadly game of cat and mouse with his former protege David Mason. With no on to trust, Peter must survive Mason's relentless assault, and
root out a suspected CIA mole who may pose the greatest threat of all.
Storyline: Peter Devereaux is a former CIA agent who is asked by the man he worked for to extract a woman who is in Russia and is presently close to a man running for President, who is believed to have committed crimes during the
Chechen war. She can give them the name of someone who can prove it. His friend says that she will only come to him. So he goes and she gets the info and tries to get out but the man finds out and tries to stop her. Peter arrives and saves her but as they
are getting away they're shot at. She is killed but tells Peter the name before she dies. Peter kills the men who attacked them but when he sees the leader, Mason, a man he trained, he realizes the CIA is involved. He tries to find the person and the only
one who might know where she is is Alice Fournier, the social worker who helped her when she came to the West. A CIA bigwig steps in and orders that Devereaux be taken off the case and wants Mason to take care of it. The Presidential candidate sends an
assassin to ... Written by rcs0411@yahoo.com
Reviewer's Note: Reviewed by Jeffrey Kauffman, November 23, 2014 -- Sean Connery famously sought to divorce himself from the role whih had brought him international superstardom, iconic secret agent James Bond, thinking that his
many films in the franchise had ended up hopelessly typecasting him. Connery had a somewhat rocky road in attempting to smash through preconceptions as to who he was and what he was capable of as an actor, and perhaps did himself no favors when he
returned to the Bond role in the less than spectacular Never Say Never Again. Aside from that one possible misstep, though, Connery never really appeared in a traditional spy yarn again, though he flirted with law and order from time to time (and
dealt with espionage tangentially as a supporting player in The Avengers). It's perhaps a little ironic, then, that Pierce Brosnan, a man who was famously initially passed over as Bond due to his television commitments as Remington Steele,
but who finally won the role and essayed it in four successful Bond efforts, should decide to return to the fold, as it were, despite the fact that he's had a fairly easy time finding completely disparate genres in which to ply his trade. The November
Man wants to be a gritty neorealist take on the spy genre, kind of like a modern day Len Deighton or John Le Carré outing, something diametrically opposed to the glamorous and often whimsical Bond ethos, though the film also doesn't shy away
from the kind of high tech gizmos and slam bang action sequences that typify any given Bond film. Brosnan evinces a clenched jaw, take no prisoners attitude through the film, but one has to wonder whether that attitude is at least in part a reaction to
the film itself.
The November Man starts out well enough with a nicely staged and edited sequences that sees veteran agent Peter Devereaux (Pierce Brosnan) and his acolyte David Mason (Luke Bracey) trying to prevent the assassination of an ambassador. Despite the
dangers inherent in being in a crowded town plaza, it appears that Devereaux's immaculately planned mission may meet with success, at least that is until a rogue gunman shows up and Mason takes things into his own hands, killing a civilian (and a
child civilian at that) in the process. Segue to a few years later, when Devereaux has evidently put the trauma behind him by retiring from the Agency, setting up a little (and impossibly scenic) cafe in Lausanne.
One day Devereaux's former handler Hanley (Bill Smitrovich) shows up, dangling some photos in front of Devereaux which are obviously of a woman Devereaux holds dear, and telling Devereaux that this woman, one Natalia (Mediha Musliovic), needs to be
extricated from Russia as soon as possible, and that she has said only Devereaux can do it. It's no huge surprise when it turns out Natalia is Devereaux's wife, which is the first little salient plot point that bears remembering as the film moves on and
begins to strain credulity and, at times, even its own inherent logic.
The scene then shifts to one of those incredibly sleek, high tech command centers that must be a major reason for the United States' budget deficit, where Hanley is managing the extrication of Natalia. Only lo and behold, there seems to be a whole
second operation unfolding, which Hanley is also in charge of. This ends in tragedy for Natalia, though at least she gets a parting kiss from Devereaux before her rather gruesome demise. Devereaux goes into killer mode and begins taking out
the people who have just caused him so much misery, at which point he stumbles across—Mason (in a piece of directorial incompetence or editing misfire, the audience is already well aware that Mason is involved). Weirdly, the two just stare at each other
even though both are armed.
In the meantime, Devereaux has found out that the reason Natalia needed to be extricated is that she held valuable information about a man who is supposedly set to become Russia's new president (don't tell Vladimir Putin). Natalia gives Devereaux her
phone as well as the name Mira Filipova as a clue to the mystery. While Mason is getting his butt handed to him for not having terminated Devereaux with extreme prejudice, Hanley is evidently "vanished" by a black ops team, and Devereaux proceeds to try
to track down Filipova, ultimately coming into contact with a young woman named Alice Fournier (Olga Kurylenko), who once knew and helped Filipova.
Up to this point despite its increasing absurdities, The November Man has been relatively well paced and decently exciting, even if several plot points are only glossed over in passing. But as the film reaches its second act, things become
increasingly more precarious. The whole interrelationship between Devereaux and Mason is supposed to be a weird kind of father-son or mentor-student link, but it's oddly adversarial, making Devereaux's later comment that Mason was the closest thing he's
ever had to a friend sound rather odd.
But the screenplay may simply being able to juggle too many subplots for anything to ultimately make a lot of sense. There's a lot of supposed skullduggery going on in the CIA, with a mysterious rogue agent having evidently colluded with the
Russian politico to start a Chechan war. Then there's the weirdly acrobatic assassin sent by the Russian politico who is out to murder anyone with certain knowledge about the politico's past (this aspect does offer one nicely surprising kill).
Then there's the whole drama surrounding Mira Filipova, a mystery which is solved in none too convincing (or surprising) a manner.
While The November Man is admittedly never boring, and contains a couple of spectacular action sequences, the human side of things is often laughable, with people's motivations turning on a dime and alliances shifting with the veritable breeze. The
film ultimately follows a by the numbers route to a surprisingly lackluster finale. Brosnan is fine as the aging agent, though even he can't salvage scenes like a late development where Devereaux's daughter is held hostage (a move which is telegraphed
about an hour before it occurs). Bracey is fine in the athletics department, but seems to struggle with Mason's inescapably sullen attitude.
The nicely done location photography is at least diverting as the film becomes increasingly more ludicrous. And, oh—that whole "married to Natalia" thing mentioned up above? It becomes a major plot point late in the film when in fact it helps lead the CIA
to Devereaux's daughter. Only it comes as a surprise to the CIA, despite the fact that Hanley obviously new about it in one of the film's first scenes. That's the kind of intelligence failure that requires a congressional hearing.
If The November Man were more riveting, cynical viewers might not wonder why Luke Bracey looks so much like Shia LaBeouf in this film, or why supporting performer Will Patton is made up to be a dead ringer for Governor Rick Perry. But parlor games
like that can at least help to divert from the fact that when all is said and done, a lot of The November Man doesn't make a whale of a lot of sense. The film is nonetheless brisk and relentless, offering some well staged action sequences and
providing some lovely scenery along the way. For those wanting an okay time killer that doesn't have any grand ambitions, The November Man will probably fill the bill quite nicely. Technical merits are very strong on this release, for those who are
considering a purchase.
[CSW] -2.3- The November Man should have waited another month. It wasn't a horrible movie, but it was far too much along the lines of Jason Bourne meets James Bond, ergo predictable. Not to mention the revelations that drove the story were a
foregone conclusion halfway through. You do get plot twists, but to enjoy them, you have to put up with contrived dialogue, boring dialogue, and contrived and boring dialogue. For a thriller, I really didn't feel any of the tension I should have felt.
Somehow this movie just seemed to just miss the mark the whole way through. Pass on this one unless you're obsessed with spy thrillers.
[V4.5-A5.0] MPEG-4 AVC - No D-Box motion codes were available at the time of this rental although they are available now.
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