Awkwardly titled after the name given to ancient Japanese Samurai who roamed the land upon the death of the lords they were sworn to protect, "Ronin" is more akin to "Bullitt" than "Shogun." Featuring enough vehicular mayhem during its extended car chase sequences to fill several movies from the 70's when that cinematic device was most popular, the film is occasionally riveting and thrilling.
Overall, however, it comes off as a somewhat muddled yarn that's more tease than delivery, and many viewers might be disappointed that the film and its mysterious and curiosity evoking beginning never really delivers.
Any time a film tantalizes and teases the audience with a "what's in there" plot and then sustains and even builds upon that mystery, it had better deliver something grand for the long wait. Otherwise, everyone who sees it will be let down or -- worse yet -- annoyed that the "surprise" turned out to be anything but.
Of course, the filmmakers could dredge up the excuse that it's not the goal that's important, but the effort and trip getting there itself that should prove to be most thrilling. While I won't divulge what approach the film takes, it should be noted that the end result is only partially satisfying.
Despite the feared return of the rock 'em, sock 'em car chase and crash moments, many of them -- along with other action scenes -- are handled quite well and are highly effective. That should come as no surprise since the movie is helmed by veteran director John Frankenheimer, who's delivered such great films as "The Manchurian Candidate" and "Birdman of Alcatraz." Of course, he also brought us 1996's remake of "The Island of Dr. Moreau," so no one's perfect, but this film falls somewhere in between.
All of which is a shame because some moments of it are so good. An early scene -- that finally gives the film the "Mission: Impossible" feel it so desperately wants and needs -- involves De Niro and the stunningly beautiful Natasha McElhone posing as spouses while staking out their targets. Getting a hotel visitor to take snapshots of them posing in front of the door, Sam manages to get photos of the entourage and even sets up the faked sound of an attack to get their well-rehearsed reactions all on film. It's a nicely executed scene, and one only wishes more of them were present.
Instead, Frankenheimer mounts some elaborately staged car chase sequences that nearly rival Steve McQueen's famous one in "Bullitt." While we dread the return of such mayhem, the scenes are effectively managed here -- and are often quite thrilling -- until they begin to literally throw in so many instances of cars and trucks smashing into other cars that you begin to think you're watching John Landis direct yet another "Blues Brothers" film (where multi-car pileups are a requirement).
The action sequences certainly make the film easy to watch, but not any easier to follow. With the numerous villains, their plans, and the switching of allegiances being handled in somewhat of a muddled fashion, the end result often leaves the viewer pondering exactly what's occurring.
Once that's figured out, you come to the realization that there's nothing present that's overly exhilarating. While one imagines -- and hopes -- the film will be filled with characters continually double-crossing the other -- some of which does occur -- such material is less than thrilling or surprising.
At least that's not as bad as the long and drawn out opening sequences. While they're supposed to elicit great curiosity about what's unfolding, a little bit of that can go a long way and Frankenheimer, working from a screenplay by J.D. Zeik and Richard Weisz (the latter being playwright turned filmmaker David Mamet via pseudonym disguise), drags out these moments well beyond their welcome.
A little teasing is fine, but to start the movie with such long, mysterious scenes where practically nothing is explained -- on purpose -- begins to grate on one's nerves, and is exacerbated by never really explaining much even by the story's end.
Fortunately -- for both the movie and the audience -- the film features a superb cast, and the great Robert De Niro is obviously the main draw. Having a track record of many tremendous and famous performances in the past ("Raging Bull," "Taxi Driver," and on and on), it's enjoyable to watch him command the screen and easily hold our attention while we wait for something to happen.
French actor Jean Reno ("Mission: Impossible," "The Professional") -- always a perfect character actor for films such as this -- is as good as ever, while Stellan Skarsgard ("Good Will Hunting," "Breaking the Waves") and the always radiant Natascha McElhone ("The Truman Show," "Surviving Picasso") also deliver good performances.
My only disappointment with the cast involves Sean Bean ("Patriot Games," "Goldeneye"), not due to a bad performance, but because he prematurely leaves the story and his thespian volatile presence is missed, although there are plenty of "villains" to go around.
Decent but not great, the film offers some effectively and elaborately staged set pieces and a tremendous cast, but isn't quite as good as one would expect or hope. Just as composer Elia Cmiral's ("Apartment Zero") score is occasionally a bit too heavy handed at infusing mood and tension when nothing's really happening to justify the music, overall the film often feels the same way.
Led along by the McGuffin-laden briefcase, the picture pleads to be something akin to "Mission: Impossible," and while a few elements of that do get through, one only wishes that more of such fun trickery were present. We give "Ronin" a 6.5 out of 10.
![[Screen It]](https://www.screenit.com/images/screenit_subscriber_logo.jpg){kind=logo}
![[Around the World in 80 Days]](https://www.screenit.com/images/posters/movies/around_the_world_in_80_days_2022_small.jpg)
![[Family Camp]](https://www.screenit.com/images/posters/movies/family_camp_small.jpg)
![[Doctor Strange in the Multiverse of Madness]](https://www.screenit.com/images/posters/movies/doctor_strange_in_the_multiverse_of_madness_small.jpg)