THE MATADOR

NR

-By Daniel Eagan


For movie details, please click here.

What happens when a businessman meets a hit man in a bar? If that sounds like the opening to a bad joke, there's more. The businessman, grieving over the death of his young son, could lose his wife if he doesn't close his latest deal. The hit man, burned out after years of killing, has lost his aim. Solving their problems is the point of The Matador, a fitfully amusing trifle that leans heavily on Pierce Brosnan's charm.

Brosnan plays hit man Julian Noble as a seedy lech with an outsized ego. After James Bond, Remington Steele and other upper-crust roles, he seems delighted to get a chance to play a vulgar lout. It's a shame that his part boils down to yet another hit man with existential angst and a heart of gold.

On assignment in Mexico City, he befriends Danny Wright (Greg Kinnear), a clueless businessman from Denver who will wind up needing a favor. What Noble sees in Wright is never exactly clear. Still, the two bond over such worn-out clichés as margaritas, cigars and bullfights, at least until Wright figures out what Noble does for a living. With second thoughts about his newfound friend, Wright returns to Denver, after which the film essentially twiddles its thumbs before Noble joins him there for the third act. As Wright's wife Bean (a sadly underused Hope Davis) watches, the two bond some more until Wright learns that it's time to repay the favor.

Director Richard Shepard, who also wrote the undernourished screenplay, spins out the film's two or three ideas as long as he can, but it becomes clear early on that he has nothing interesting to say about hit men, friendship, Mexico City, or any other of The Matador's ostensible themes. And does anyone still care about how lonely hit men are? Shepard dresses up the film with intertitles, flashbacks, flash-forwards, jump cuts, a garish set design, jangly lounge music, and anything else that can distract viewers from the vacuum at the center of his story. You'll be able to dream up a half-dozen better plot twists without half trying.

Brosnan, one of 13 credited producers, brings the only real energy to the film, even though he often seems to be congratulating himself for "taking a risk" by wearing loud shirts and stubble. Kinnear is game, but can't do much with a part that goes precisely nowhere. Get past the stunt casting, and The Matador has very little to offer, despite all the hubbub surrounding it.

-Daniel Eagan


Save | E-mail | Print | Most Popular | RSS | Reprints

ADVERTISEMENT



REVIEWS

Into the Woods
Film Review: Into the Woods

Over-scaled, too dark and only intermittently charming Sondheim musical adaptation does a disservice to a great cast and is often so noisy you can't even appreciate the music. More »

The H obbit: The Battle of the Five Armies
Film Review: The Hobbit: The Battle of the Five Armies

After rewriting the rules for modern fantasy cinema, for the better and worse, Peter Jackson’s six-film Tolkien saga slams, bangs and shudders to a long-overdue conclusion. More »

Player for the Film Journal International website.


ADVERTISEMENT



INDUSTRY GUIDES

» Blue Sheets
FJI's guide to upcoming movie releases, including films in production and development. Check back weekly for the latest additions.

» Distribution Guide
» Equipment Guide
» Exhibition Guide

ORDER A PRINT SUBSCRIPTION

Film Journal International

Subscribe to the monthly print edition of Film Journal International and get the full visual impact of this valuable resource for the cinema business.

» Click Here

SPONSORSHIP OPPORTUNITIES

Learn how to promote your company at the Film Expo Group events: ShowEast, CineEurope, and CineAsia.

» Click Here