RECESS  |  CULTURE

'American Assassin' misses the mark

film review

'American Assassin' doesn't break the mold of a typical action movie.
'American Assassin' doesn't break the mold of a typical action movie.

Not so shockingly, “American Assassin,” the newest film from director Michael Cuesta, is no instant classic. Dylan O’Brien plays Mitch Trapp, the titular figure who decides to single-handedly take down the organization responsible for the death of his fiancé. Needless to say, his plan does not go as intended. In a strange turn of events, Trapp finds his way into the hands of the CIA. As a counterterrorism agent, Trapp works with Stan Hurley (Michael Keaton) to stop an illegal arms deal from waging war in the Middle East.  

Ultimately, “American Assassin” fails to contribute anything to the action genre. There is plenty of gore, but its presentation ruins any chance of giving it purpose. Quentin Tarantino, a filmmaker known for his portrayal of extreme violence, is able to justify his inclusion of gore by giving it artistic value. “Kingsman: The Secret Service” succeeded by turning violence on its head and making it a tool of satire. “John Wick” stylized and expertly choreographed its action to compensate for a flimsy script.  “American Assassin” does not emulate its successful predecessors, using violence as a crutch to provide shock value when the storyline couldn’t. 

Another important element missing from the film is a believable villain. Antagonists like Le Chiffre (from “Casino Royale”) and the Joker have pasts and unambiguous agendas that go beyond total world destruction. They provide important context and create real fear within their respective films. The villain in “American Assassin,” who is not formally recognized until about halfway through the movie, is everything a great villain isn’t. His formulaic and contrived motive only adds confusion to the film’s already muddled premise. One could argue that the true villain of the film is terrorism. On paper, “American Assassin” is seeped in politics, but there is far too much ambiguity and not enough thoughtful execution to communicate a meaningful political message. In fact, the villain is so underdeveloped that the film’s most interesting conflict occurs between Trapp and a pack of guard dogs.

At the very least, “American Assassin” could’ve put more effort into subverting the basic action plot in order to add another dimension to the film’s plot. Movies such as “Looper” and “Grosse Pointe Blank” successfully reimagined the assassin movie model; “Looper” set itself apart by incorporating science fiction and time travel while “Gross Pointe Blank” adopted a lighthearted, ironically comedic tone. Unfortunately, a linear plot and an unoriginal tone prevent “American Assassin” from reaching the same level of impact. 

Despite the glaringly negative aspects of the film, “American Assassin” has some redeeming characteristics—the most noticeable and consistent being Michael Keaton. The actor didn’t have much to work with in terms of a script; it’s almost as if his character in “Spiderman: Homecoming” walked off one set, got another chip on his shoulder and walked right onto this one. His character is equal parts redneck and secret agent, and Keaton manages to make Hurley a believable, perhaps even likable, character. Dylan O’Brien fails to match Keaton’s performance, delivering a confusing and distant Trapp. (“Teen Wolf” fans will most likely be disappointed that the movie didn't take more advantage of O’Brien’s charisma). 

Surprisingly, the clichéd script lends itself to wonderfully unusual comparisons. Somehow , the relationship between Trapp and Hurley is almost identical to that of Master Shifu and Po in the movie “Kung Fu Panda.” Hurley is especially critical of Trapp, and without reason. Later in the film it is revealed that Trapp reminds Hurley of an old student, one who equals Trapp in talent and insubordination. This student, now a mercenary, returns to wreak havoc on Hurley and his team. In “Kung Fu Panda,” Master Shifu shares the same mysterious harshness for Po, his apprentice. This harshness is also the result of  a previous apprenticeship, one with Tai Lung the snow leopard. After a rough break, Tai Lung goes rogue and plots to exact revenge. The parallels are simply incontrovertible, showing that clichés are a force that can bring any two genres together. 

The tagline for “American Assassin” claims that assassins are born, not made. Maybe you’re brave enough to agree with this sentiment. Maybe you’re looking for a film that’s a blend of “Kung Fu Panda,” “2012” and “White House Down.” Regardless of your reasoning, you should make your way to the movie theater as soon as possible—or you could always wait for the inevitable sequel.  

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