Month: October 2022

Today’s quick review: The Executioner. After his entire team is wiped out when their cover is blown, British agent John Shay (George Peppard) goes looking for answers. Using his girlfriend Polly’s (Judy Geeson) access to confidential files, Shay uncovers evidence that Adam Booth (Keith Michell) is a Russian agent. But when his superiors stonewall his investigation, Shay must decide how far he is willing to go to get revenge for his team.

The Executioner is a spy thriller about a British spy on the hunt for a Soviet double agent. Shay’s investigation is complicated by interference from above and his own lingering feelings for Sarah (Joan Collins), Booth’s wife. What follows is a tale of uncertainty and betrayal where Shay’s instincts could either save his life or lead him down a dark path. The Executioner is a well-crafted thriller with interesting conflicts and sharp twists.

The Executioner has a knack for creating tension. Every clue Shay uncovers makes him more certain that Adam Booth is the double agent, but his obsession alienates him from both his colleagues and his girlfriend. The result is a gradual escalation that leads to clever twists and a substantial payoff near the end. The Executioner is not as dark as some dramas, but it does pack some heavy punches for those willing to invest in its story.

The Executioner is a strong pick for anyone interested in the serious side of the spy genre. The movie is not as flashy as some of its contemporaries, but it plays its hand well, resulting in a story that gets more engrossing as it goes on. Those looking for flat-out action or a campier spy adventure will want to look elsewhere.

For an even more sober spy drama about the steep cost of espionage, try The Spy Who Came in from the Cold. For a crime drama with a similar sense of uncertainty, try Mystic River or The Departed.

5.9 out of 10 on IMDB. I give it a 7.0 for a tightly woven plot and plenty of tension.

Today’s quick review: Hammerhead. Charles Hood (Vince Edwards), a spy working for British intelligence, goes undercover to get close to Hammerhead (Peter Vaughn), an international crime kingpin. Hood travels to Lisbon, where he uncovers Hammerhead’s plan to steal a top-secret NATO report. But to stop Hammerhead once and for all, Hood has to accept the help of Sue Trenton (Judy Geeson), a friendly hippie he can’t seem to get rid of.

Hammerhead is a spy adventure comedy that pits an intrepid spy against a criminal mastermind. Hammerhead aims to be a light-hearted romp that blends action, humor, and sex appeal in equal measure. But while the movie’s carefree attitude and 1960s atmosphere give it some superficial appeal, it lacks a coherent vision. Flimsy characters, a ramshackle plot, and disorganized storytelling all contribute to a underwhelming watch.

Even for an action movie, Hammerhead does not hang together well. Hood’s mission is never adequately explained, leaving the early parts of the movie with little concrete motivation. His investigation hinges on a couple of lucky breaks that aren’t properly set up, and the whole thing is rendered moot by a villainous plan that has no impact or sense of urgency. With a shaky plot and no character development to carry it, the movie falls apart.

Hammerhead works best as a mindless serving of spy adventure. Those willing to give up on the story and let the atmosphere wash over them will find it to be a pleasant watch, if not a particularly satisfying one. But anyone hoping for the cleverness, the thrills, or the style the spy genre is known for will be disappointed. Anyone other than die-hard fans of the 60s should probably steer clear.

For a more polished spy adventure with a similar tone, try the any of the James Bond films starring Roger Moore. For a parody of this style of spy movie, try the Austin Powers movies. For a spy comedy that strikes a better balance between action and humor, try Get Smart.

5.1 out of 10 on IMDB. I give it a 5.5 for a light tone with nothing to back it up.

Today’s quick review: A Dandy in Aspic. Alexander Eberlin (Laurence Harvey) leads two lives: one as a peevish British intelligence agent, the other as a Soviet mole and assassin. His two lives collide when the British send him to Berlin in search of Krasnevin, his own Russian alter ego. Faced with an impossible situation, Eberlin must find a way to mislead Gatiss (Tom Courtenay), his partner for the mission, and throw the Brits off his trail.

A Dandy in Aspic is a spy thriller about a Soviet double agent on the hunt for himself. A Dandy in Aspic has a clever premise that puts pressure on its main character from every direction. But in spite of a strong setup, intriguing twists, and a talented cast, the film is missing the sense of pathos it needs to make it all worthwhile. Without a reason to care for Eberlin, A Dandy in Aspic ends up being a bitter drama with little emotional payoff.

A Dandy in Aspic’s weak link is its characters, beginning with Eberlin himself. He works well enough on paper: a cold-hearted double agent who will stop at nothing to maintain his cover. But he works poorly as a protagonist. He is irritable, amoral, and unsympathetic, giving the audience precious little to cling to. The problem is compounded by Gatiss, who throws off the balance of the movie by being every bit as cold and judgmental as Eberlin.

The result is a movie that has almost all of the right pieces but fails to assemble them correctly. With either a more sympathetic version of Eberlin or a better foil for him than Gatiss, A Dandy in Aspic’s story could have shone. As it stands, the movie works better as an intellectual exercise than a proper drama. It still gets enough right to be worth a shot for curious viewers, but it is a step down from some of the better films in the genre.

For a classic spy thriller that handles a similarly bleak tone with more tact, try The Spy Who Came in from the Cold. For a Cold War thriller with a similarly elaborate plot and a better main character, try The Ipcress File or Funeral in Berlin. For a modern action thriller about a suspected Russian mole, check out Salt.

6.2 out of 10 on IMDB. I give it a 6.5 for a promising setup hurt by an unlikable lead.

Today’s quick review: Otley. Gerald Arthur Otley (Tom Courtenay) is pushed head-first into the world of espionage when he’s implicated in the murder of Lambert (Edward Hardwicke), an MI-5 agent who was engaged in double-dealing. Otley finds himself caught between two rival intelligence organizations who believe he had access to Lambert’s secrets. Trapped amid spies and killers, he turns to a mysterious woman (Romy Schneider) for help.

Otley is a British spy comedy about an ordinary man who gets wrapped up in an intelligence scandal. The movie follows its title character as he bounces between Hendrickson (James Villiers), one of Lambert’s associates, and Proudfoot (Freddie Jones), the head of a rival organization. Otley gets most of its comedy from the increasingly tangled situations Otley winds up in. Its light tone and intricate plot make it an amusing watch for the right viewer.

Otley’s greatest strength is Gerald himself. Gerald is easy to like, an easygoing man who wants nothing more than to return to his own humble life and leave the spy business behind. Affable, saracastic, and prone to petty theft, he is a fixed point within the shifting tides of the plot. Otley is a film the relies heavily on its lead, but Tom Courtenay is up to the task, and his natural performance will appeal to any fan of British humor.

Give Otley a try when you’re in the mood for a light adventure with a complicated plot. It is a modest film that relies on a simple dynamic for most of its humor, but that dynamic—Gerald in over his head—serves it well. Though not as outrageous as other comedies, Otley is a pleasant watch that will be a hidden gem for the right viewer. Those looking for sharper comedy, genuine espionage, or climactic action should look elsewhere.

For a similar case of mistaken identity, try Lucky Number Slevin, The Big Lebowski, or The Tourist. For a more ridiculous comedy about an unwitting man put in the middle of an intelligence operation, try The Man Who Knew Too Little. For a British crime comedy with a similar sense of humor, try Dead in a Week (Or Your Money Back).

6.3 out of 10 on IMDB. I give it a 6.5 to 7.0 for a charming lead and a suitably convoluted plot.

Today’s quick review: The Deadly Affair. British intelligence agent Thomas Dobbs (James Mason) suspects foul play when Samuel Fennan (Robert Flemyng), a government official he was investigating for Communist ties, seemingly kills himself. Going against orders, Dobbs investigates the death, beginning with Fennan’s wife Elsa (Simone Signoret). Meanwhile, his own wife Ann (Harreit Andersson) is having an affair with an old friend (Maximilian Schell).

The Deadly Affair is a spy mystery based on a novel by John le Carre. The Deadly Affair follows Thomas Dobbs as he tries to answer the questions raised by the apparent suicide of a suspected Communist spy. In spite of its subject matter, the movie plays out more like a noir than a spy thriller. Dobbs puzzles out clues, asks inconvenient questions, and shakes off violence in his attempt to get at the truth.

Part of what sets The Deadly Affair is its protagonist. James Mason cuts a peculiar figure as Thomas Dobbs: a bulldog when it comes to his work, but a passive and frustrated man in his domestic life. Unlike other spies in fiction, Dobbs is neither hyper-competent nor washed-up. He is an ordinary man struggling to cope with the pressures put on him by an unforgiving job and an unfaithful wife, injecting a much-appreciated human element into the story.

The Deadly Affair sits comfortably at the intersection of two compatible genres. It couples the intrigue and subterfuge of a spy film with the sturdy backbone of a noir, tying it all together with the unique perspective of its protagonist. The Deadly Affair is not as flashy as its competition, but it certainly holds its own. Anyone in the mood for something well-crafted and cerebral should give it a try.

For a Cold War spy movie with more expansive plot, check out The Ipcress File or Funeral in Berlin. For one that offers an even bleaker take on the business of espionage, try The Spy Who Came in from the Cold. For a noir with an even more elaborate mystery, try The Maltese Falcon, The Big Sleep, or Murder, My Sweet. For another crime drama that centers around infidelity, try Internal Affairs.

6.8 out of 10 on IMDB. I give it a 7.0 for a well-crafted mystery.

Today’s quick review: Man on a String. Boris Mitrov (Ernest Borgnine), a Russian-born Hollywood producer, gets caught between a rock and a hard place when the Central Bureau of Intelligence learns that he has been working for KGB spymaster Vadja Kubelov (Alexander Scourby). To atone for his betrayal, Mitrov cooperates with the CBI, traveling to Berlin as part of a dangerous plan to infiltrate the highest levels of Soviet intelligence.

Man on a String is a classic spy thriller that’s loosely based on a true story. Ernest Borgnine stars as Boris Mitrov, a successful Russian immigrant who becomes a double agent working for the United States. Man on a String breaks down the chain of events leading to Mitrov’s recruitment by the CBI, as well as his undercover mission to Berlin. The film’s factual presentation style holds a certain appeal, but it robs the film of its emotional impact.

Man on a String presents its material through a very specific lens. It is as much an educational film as a thriller, using Mitrov as a case study to show how the United States and Soviet intelligence apparatuses work. The film’s running narration (Clete Roberts) and Mitrov’s reflections on his reasons for working for the KGB help to drive home the points the film wants to get across. The result is a clear snapshot of Cold War counterintelligence.

Unfortuantely, Man on a String’s informational qualities come at the expense of its story. The movie plays with its cards on the table, eliminating the kinds of guessing games that make other spy thrillers so effective. The character motivations are also carefully circumscribed: realistic, but a little too tidy. And while the movie manages to squeeze some tension out of Mitrov’s trip to Berlin, it comes too late in the story to have much impact.

Man on a String fills a peculiar niche. How much you get out of it will depend heavily on how interested you are in Cold War spycraft for its own sake. Those interested in a realistic, if somewhat tame, look at the motivations of a double agent should give it a try. Those hoping for a taut thriller with plenty of action will want to steer clear.

For a sharper Cold War thriller, try Funeral in Berlin. For a less grounded one involving a double agent, try The Jigsaw Man. For a modern action movie about a Russian agent, check out Salt.

6.2 out of 10 on IMDB. I give it a 6.5 for solid craftsmanship and niche appeal.

Today’s quick review: The Killer Elite. Mike Locken (James Caan), a mercenary working for a CIA contractor, is left permanently crippled when his partner George Hansen (Robert Duvall) double-crosses him. Locken pushes himself to recover as fast as possible in the hope of getting his job back and getting his revenge on Hansen. He gets the chance to do both when he’s assigned to protect Yuen Chung (Mako), a politician Hansen has been hired to kill.

The Killer Elite is an action movie about a crippled mercenary trying to get back in the game. The movie follows Locken through his injury, his rehab, and his first assignment back as he tries to beat the partner who betrayed him. The Killer Elite earns points with its likable main character, promising setup, and competent plot. Seeing Locken bounce back from his injuries is the highlight of the movie, and there’s enough action to keep things exciting.

Still, The Killer Elite makes some odd missteps. The movie is overly fond of cutting back and forth between scenes, leading to some confusing moments. The story is generally put together well, but some parts of it have a clearer vision behind them than others. Locken’s background as an operative and his arduous recovery are handled with skill, but everything surrounding Yuen Chung feels half-baked, leading to a perfunctory ending to the film.

The Killer Elite will appeal to fans of action movies in the classic mold. It lacks the raw spectacle of a modern action flick, but it does well enough with its characters, action, and plot to make for an enjoyable watch. Those looking for a more polished action thriller or one with a fully serious tone should steer clear. For an energetic modern action movie that hits some of the same beats, try 2 Guns.

6.0 out of 10 on IMDB. I give it a 6.5 for well-rounded entertainment with some noticeable flaws.

Today’s quick review: Company Business. Ex-CIA agent Sam Boyd (Gene Hackman) comes out of retirement to handle an off-the-books prisoner exchange between the CIA and the KGB. He takes Pyotr Grushenko (Mikhail Baryshnikov), a captured Russian mole, to Berlin to make the trade for an American agent, but the deal falls apart when the agent turns out to be an impostor. Now wanted by the CIA and KGB, Boyd and Grushenko must trust each other to survive.

Company Business is a spy thriller about a pair of enemy spies who are forced to work together after their agencies betray them. In spite of their different backgrounds, Boyd and Grushenko are cut from the same cloth. They are easygoing men who want no part in their agencies’ grand schemes. Their easy friendship is enough to make Company Business a pleasant watch, while a by-the-numbers thriller plot gives it some modest excitement.

But although it gets the basics right, Company Business does not have much character of its own. Boyd and Grushenko are blandly likable, with no strong character traits or internal conflicts. The plot moves forward at a good pace, but it doesn’t pack any meaningful surprises, and the movie ends abruptly before it can wrap up all of its threads. The movie also has some enjoyable bits of comedy, but they never get the chance to shine.

Give Company Business a shot if you’re in the mood for a thriller that’s light and easy to follow. Two affable leads and a serviceable plot are enough to make the movie a fine pick for an accommodating viewer, but it does not take any real risks or leave a lasting impression. More exacting viewers will find that Company Business does not have anything to set it apart from the crowd.

For a spy thriller with higher stakes and a darker tone, try The Fourth Protocol or Spy Game. For one with a similar premise but more action, try Safe House. For an action comedy with more flair that’s about a pair of spies from rival organizations, try Mr. and Mrs. Smith. For a more dynamic action movie about a pair of enemy spies forced to work together, try The Man from U.N.C.L.E.

5.7 out of 10 on IMDB. I give it a 6.0 to 6.5 for a decent story with some missed opportunities.

Today’s quick review: The Fourth Protocol. British intelligence agent John Preston (Michael Caine) earns the ire of his superior (Julian Glover) with his proactive behavior. Demoted to security work, Preston stumbles across a Russian courier carrying part of a nuclear detonator. This alarming discovery puts him on the trail of Major Valeri Petrofsky (Pierce Brosnan), a cold-hearted KGB spy who has been sent to England to set off an atomic bomb.

The Fourth Protocol is a spy thriller based on the novel by Frederick Forsyth. Michael Caine stars as John Preston, a veteran spy whose persistence could be the only thing standing between NATO and crisis. Pierce Brosnan plays opposite him as Valeri Petrofsky, a skilled infiltrator who will stop at nothing to complete his mission. The Fourth Protocol delivers a winding plot with some decent tension, but it lacks the creativity to stand out.

The Fourth Protocol spends a lot of time moving its pieces into place. Preston’s investigation, Petrofsky’s mission, and the political maneuvering behind the scenes unfold gradually over the course of the film. The movie gets its tension from this indirect build-up: As Preston wrestles with MI-5’s internal politics, Petrofsky gets closer and closer to assembling the bomb. The result is a competently handled thriller that never goes beyond the basics.

The Fourth Protocol is a fine pick for those interested in a Cold War-era race against the clock. The movie falls somewhere between the two extremes of the spy genre, with higher stakes and more action than the realistic side of the genre, but not as much style and spectacle as a Bond-style adventure. If you are fine with this compromise, The Fourth Protocol is a worthwhile watch. Those looking for something more memorable should look elsewhere.

For a more action-packed thriller about a missing nuclear weapon, try The Peacemaker. For a more down-to-earth spy thriller starring Michael Caine, check out The Ipcress File or Funeral in Berlin. For a more adventurous spy movie with one of the same stars, try Billion Dollar Brain, GoldenEye, or Die Another Day.

6.6 out of 10 on IMDB. I give it a 6.5 for a decent plot with little to set it apart.

Today’s quick review: Billion Dollar Brain. Now retired from MI-5, Harry Palmer (Michael Caine) gets pulled back into the spy game when his old friend Leo Newbigen (Karl Malden) recruits him for a job in Helsinki. What begins as an errand turns into an offer to join a radical anti-Communist group headed by a manic billionaire (Ed Begley) and his supercomputer. Now Palmer must find a way to stop the organization before it unwittingly sets off World War III.

Billion Dollar Brain is a spy adventure based on the novel by Len Deighton. It is a tonal departure from the two previous Harry Palmer films. Where The Ipcress File and Funeral in Berlin were realistic thrillers dealing with Cold War spycraft, Billion Dollar Brain is a larger-than-life romp that has more in common with the James Bond films. Unfortunately, the gamble does not pay off, thanks to the movie’s outlandish plot and lack of style.

Billion Dollar Brain has a few issues that keep it from realizing its vision. The plot is clumsy, dragging Harry from place to place without a clear objective in mind. The premise is outlandish in the same way as most Bond films, but Billion Dollar Brain does not have their action, style, or sense of humor. The result is a disorganized story with a number of worth components that never unite into a compelling whole.

Billion Dollar Brain still has enough going for it to be woth a watch for fans of the genre. The cast is entertaining, the movie can be fun in places, and seeing the plot unfold is still interesting. But Billion Dollar Brain is a clear step down from its more grounded predecessors, while its missing the iconic quality of the Bond films. Discerning viewers would be better off looking elsewhere.

For a sharper spy adventure in the same vein, try Dr. No or Goldfinger. For a smarter, more serious spy thriller with the same characters, try The Ipcress File or Funeral in Berlin. For a full-blown Cold War satire, try Doctor Strangelove.

6.0 out of 10 on IMDB. I give it a 6.5 for a shaky plot and tonal issues.