There are details in Tariq Saleh’s “The Contractor” that are beautifully organized.
The action sequence uses exhilarating environments to create suspense and to tell main character James Harper what he can and can handle.
Some of the quieter scenes show Harper’s determination as well as the hesitation and uncertainty under a trained facade, while many benefit from the feeling of being stuck in a squirrel wheel on their way to losing speed.
Chris Pine plays the main role without overdoing it. He, just like the movie, wants to keep his feet on the ground and make the viewer think about realism. In several scenes, as a result of Tariq Salih’s guidance and Pine’s restraint—the looks and facial expressions becoming too important to show the growing anger—works out perfectly.
In other cases, especially in moments when Kiefer Sutherland is in Kiefer Sutherland at the most, the veil is pulled away and the headlights find the weakest cut with “The Contractor”.
Director Pierre Aime – Tarek Saleh and Ohm made The Nile Hilton Incident together – sometimes uses nooks and crannies to elevate the image, but usually leaves the camera where it is needed to serve its purpose; “The Contractor,” after all, is a genre movie, although it rises above many other similar films.
Manos: J.P. Davis.
Directed by Tariq Saleh.
Casting: Chris Pine, Ben Foster, Gillian Jacobs, Eddie Marsan, Kiefer Sutherland, Nina Hoss, Faris Faris, J.D. Pardo and others.
Premiere: April 4 on Prime Video.
Chris Pine’s character, James Harper is the army that can always be trusted.
Serious injury later: Too much “medicine” in the body to avoid pain and then separate. The wife and son are at home and a financial disaster awaits around the corner.
The solution: a private security firm-type job that Harper hates.
The mission concerns the character of Faris Faris Salem Mohsen, a Berlin virologist who is said to have links to al-Qaeda. After several turns of the plot, most of them risk going into the forest.
In JP Davis’ script, there is a theme about fathers and sons, something Tariq Salih set as a clear basis for the film. This makes “The Contractor” more of a character of the recurring flag-waving genre. You care about how it goes to the end.
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