American Star

Two bits of trivia for you. 1. Ian McShane is one of those rare actors who has never given a bad performance. 2. The Canary Islands are, geologically, not islands but mountain tops. Once, long ago, when sea levels were lower, there was a civilization there. The reason for this trivia? Although McShane has never given a bad performance, he does occasionally take parts that are less than his due. Arguably, this is one of them. And, two, unless you succumb to the hypnotic delight of chillin' on the island (and many of you will indeed succumb!), this meandering and moody film may not be for you. It is literally 10 full minutes before we have actual dialog. To say the pace is slow is like saying water is wet. There is indeed some action in the Third Dramatic Act but, in all honesty, by then you will have absolutely decided whether or not this film is for you. And voted, accordingly, with your keyboard. ((Designated "IMDb Top Reviewer." Please check out my list "167+ Nearly-Perfect Movies (with the occasional Anime or TV miniseries) you can/should see again and again (1932 to the present))

Wilson is an aging assassin recently arrived on Fuerteventura. After discovering that his hit has left the island, he decides to stay and relax, ostensibly until the target returns. Waiting and wandering, Wilson befriends Gloria, a bartender, and finds he has a connection with Max, a young boy staying at his resort. However, the arrival of Ryan, a figure from Wilson's past, makes it clear that he has broken his cardinal rule: never get attached.

Directed by Gonzalo López-Gallego, 'American Star' is a reserved thriller telling a familiar tale- but telling it well. Nacho Faerna's screenplay relies on silence, as much as dialogue, to further the narrative, and is an effective character study about a man past his prime, struggling to find something worthwhile left in a violent life. It is a subtle, quiet film, at times reminiscent of Jean-Pierre Melville's 'Le Samourai' or- perhaps more so- Stephen Frears' 'The Hit'.

Like Frears' film, the central character is a world weary assassin who begins to question himself while on his latest job. Similarly, both characters are reticent- in Frears' case, John Hurt's Braddock- though not without humour or emotion. The subplot involving Max is particularly heartfelt and well-handled, verging on the cloying at times, but not getting there. Building up to a memorable, surprising conclusion, the narrative packs a punch.

As does José David Montero's cinematography. As cool and clean as the central character, Montero's assured work complements the narrative, capturing the beauty and stark isolation of Fuerteventura. He makes excellent use of close-ups and tracking shots, compounding the suspense and tension of proceedings, while letting audiences peek into the minds of the characters; seemingly reading their thoughts through their expressions.

Moreover, Óscar Sempere's minimalist production design is striking, making Wilson's world feel cold and harsh. Leire Orella's muted costume design contributes both to the characters and the mood of the piece, while the score- from Remate- adds a quiet power and pathos to proceedings. Additionally, the film is well-edited, and rockets along at a brisk pace, though never seems rushed; feeling to be the perfect length at an hour and 47 minutes

Ian McShane stars as Wilson, opposite Nora Arnezeder as Gloria, Oscar Coleman as Max and Adam Nagaitis as Ryan. McShane delivers a masterclass in understatement, and is utterly compelling, creating in Wilson someone to root for. With deft, he displays the character's complexity and vulnerability, sharing an easy chemistry with Arnezeder. She makes Gloria- who is, to be fair, a little underwritten- interesting and sympathetic, while Coleman and Nagaitis are both excellent as the young Max and Ryan, respectively. In addition, Fanny Ardant does fine work in the all too small role of Gloria's mother, while the talents of Thomas Kretschmann are wasted entirely in a walk-on part shorter than the time it takes to write his name.

A worthwhile slow burn, Gonzalo López-Gallego's 'American Star' is an entertaining, evocative story, boasting stunning, crisp cinematography, an engaging narrative and compelling characters. Headlined by the incomparable Ian McShane, the film is quiet and full of nuance, and therefore might not be to everyone's tastes. However, for fans of McShane, Jean-Pierre Melville or Stephen Frears' 'The Hit,' it is worth taking a shot at.

I'm not sure why this has a low rating. It's actually very well shot, the acting is very good, and while slow it's correctly paced for the genre.

The story is pretty rudimentary but it's handled well. The director does a great job framing the scenes and the setting is really beautiful.

This isn't an action movie so I guess the low ratings are from people who expected a man in his 70s to be doing Jason Statham level fight scenes?

It's a hitman story and it's a good one. The villain is played well too and the story does crash together at the end in an interesting way.

If you like hitman movies and appreciate slower paced, character driven and building stories you'll likely enjoy this.

Nowadays, when all pretense thrillers are forged on the repetitive formula, this excellent argument works with the humane element as no other ever conceived. Forget about the usual gratuity of the "shot-punch-bomb" genre and dive into the complex persona of a mysterious protagonist played with virtuosity by the great Ian McShane. The pace is led steadily along the movie, as the landscape contributes to the crescent tension until the astonishing ending. No frills, no disposable clichés, no chance to narrative gaps. A modern classic, essential and referential for the future moviemakers generations. Great!

McShane builds into the role throughout this metaphor of waiting. Waiting to let go of the things in his life and coming to terms with whatever was killing him slowly, military life, loss, divorce, family, shame, childhood dreams, joy. It's a backdrop for the end for the lead, where dialogue becomes less meaningful, his sunken dreams washed up, perhaps mythically on an abandoned shoreline. Ultimately he has followed orders to the end, perhaps even beyond into purgatory itself.

American Star seems a misleading title somewhat, but it's an interesting and captivating narrative for those more introspective evenings.