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"Tell me your deepest and darkest secret," tells Olivia Thirlby's photojournalist to Jonathan Mersad's infiltrated spy Jonathan Rhys Meyers – with an uncomfortable grimace – when he says: an impromptu appointment. It's not a match-cute as one of the cliche moments of this disappointing political thriller.
The pair first runs into Jerusalem, where Ari (Meyers) is badessed after derailing his last mission by killing someone that he was not supposed to do. Their relationship intensifies when they see each other in Syria, where Ari has to exfiltrate a scientist and his family. But before long, he discovers why he is really there, and navigating a new story is the least of his problems.
The cast is finally dropped by the wooden dialogue and predictable twists.
Damascus Cover familiarity with the sets of the author Howard Kaplan – having already lived in the Middle East – is deeply felt, even in the on-screen adaptation. It is intriguing to see this global espionage area explored given the conflict of nations, and this helps to add a semblance of depth and guts.
While Damascus Cover painted the sites effectively, he did not allow such wealth when it comes to his characters. We learn that Ari recently divorced, that he did not want to move to Germany when he was a boy, that he flinches at the mention of children after the death of his son and that he would become his alter ego Hans Hoffman whenever he could. At the end of the film, you will wonder why they told you, because none of this seems really important.
That being said, Ben-Sion is not James Bond. It sometimes slips and it's a welcome change in the genre. It can not be denied that Rhys Meyers – whose focus is flawless – also makes a secretive secretive agent, his perfect intense face to portray a man with inner demons that is in his head. Thirlby gives off heat against his cold, tailored and kicked agent, while Navid Negahban also turns into a strong performance as a corrupt Syrian general, his bloody and immoral ways of getting information hidden by his powerful stance and his charming smile.
The trio is finally dropped by the wooden dialogue and predictable twists. It's a wonder why they made this story so narrowly focused when its real appeal lies in the much greater tension between Syria and Israel. (There is even a laughable revelation in the final act of the film that undermines the lack of attention that there was on this topic.) The film has something poignant; perhaps just for the fact that it presents the final performance of the great John Hurt. Damascus Cover is a forgettable spy thriller that exceeds its real-life relevance in favor of shoehorn romance and rebellious characters. Less Mission: Impossible; More & # 39; Mission: toss the window & # 39;
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