As Duas Faces de Janeiro

It's 1962 Athens. Rydal (Oscar Isaac) is a tour guide charming and scamming his female visitors. He finds a mark in American couple Chester MacFarland (Viggo Mortensen) and his wife Colette (Kirsten Dunst). A man looking for Dunleavy intrudes into the couple's hotel room. He's been hired by MacFarland's former clients and pulls out a gun. The man is killed. While trying to dispose of the body, Rydal comes up to return a bracelet. Rydal gets pulled into the suspicious cover-up that Chester initially claims to be a drunk making a pass at Colette. Rydal tries to help them escape while skimming off the top.

This has the feel of 'The Talented Mr. Ripley' which is another novel from Patricia Highsmith. However there is a fun and audacity of the con that is missing. It has the Hitchcockian backbones but the story feels tired. Isaac is a bit detached playing it more like supporting role rather than the staring role this is supposed to be. Mortensen is smoking up a storm and has a bit of fun. Dunst is beautiful but her character is too clueless. I rather she not play the innocent. All the material seems to be here for a great psychological thriller but it comes together as more flat than exciting.

An old school, Hitchcockian style thriller from the writer behind Drive, The Two Faces of January commences with sexy, mysterious intrigue, but slowly dovetails into a soggy noodle. Shot against the glorious, sun-drenched Greek landscape by cinematographer Marcel Zyskind and boasting immaculate costume and set design befitting its 1960s period, January looks a million bucks, yet this can't cover up the fact the final hour is bland and devoid of tension. One of the finest (and underrated) actors of our generation, Oscar Isaac is once again astounding despite his failing surrounds, here portraying the smooth, enigmatic operator who gets in over his head when he witnesses a crime by an attractive American couple. As the wealthy tourists with a secret, Kirsten Dunst and Viggo Mortensen are another major weakness, the duo sharing zero spark together and Mortensen in particular possessing all the charisma of a plank of wood. It's a noble directorial debut from screenwriter Hossein Amini, but remains a missed opportunity in a subgenre not visited nearly enough.

The Two Faces of January is a gripping and highly watchable film which I would highly recommend. Set in the sixties, it is undeniably "old school" – a twisted tale of murder, treachery and double-dealing, based on the novel by Patricia Highsmith, where you half expect Alfred Hitchcock to appear in cameo at some point.

Viggo Mortensen (Lord of the Rings) and Kirsten Dunst (Spiderman) play Chester and Colette Macfarland a rich and affluent couple touring the sites and sounds of Europe, with us first catching up with them in a glorious looking Athens.

Appearing to be relaxed and happy together, they hide a dark secret that is about to catch up with them. Oscar Isaac – so fabulous in Finding Llewyn Davis earlier this year, and about to hit mega-stardom in the Star Wars reboot – plays American rogue Rydal, who seems to stare intently at Chester. Is he part of the impending storm, or just an innocent caught up in events he can't control? Tensions rise, not just because of the plot pressures but also because of the obvious sexual tension growing between the charismatic Rydal and Chester's lovely and much younger wife.

The compelling story – albeit somewhat predictable in places – takes in some fabulously atmospheric locations in Athens, Crete and Istanbul.

This is the feature directorial debut of Iranian-born Hossein Amini, who also wrote the screenplay – this being his forte have written a range of films including Drive and Snow White and the Huntsman. And what a good job he does, orchestrating location, lighting and music to great effect. Some of the editing is also very tight, cutting away from scenes at crucial points to maintain the story's mystery.

The trio of actors also bring great star power to their roles. Mortensen and Dunst are very watchable, but it is Isaac that again really shines in his role. In turns enchanting, brooding and cowed like a cornered animal, he plays the perfect James Stewart character in this Hitchcockian homage.

In the coming blitzkrieg of summer blockbusters, here is a jewel of a film that will be particularly enjoyed by older viewers who remember when story and location were put far ahead of CGI-based special effects.

(If you found this review helpful, please see my other reviews and 'Follow the Fad' at bobmann447.wordpress.com. Thanks.).

I agree with an earlier reviewer that this film derives much of its effect from being set in 1962. The period feel is beautifully communicated and the plot needs to work itself out in a world where places like Athens, Crete and Istanbul were not just exotic but isolated, where holidaying Americans would still be surprised and interested to meet other Americans, and people on the run could hope to hide away. The chemistry between the three leads, who are all well played, does lack fizz and there is a clumsy and rather hackneyed third act. But the film is never less than engaging and all the better for not resorting to surprise twists. The music tries too hard to be exciting, almost as if the director thinks the visuals need some extraneous help to keep the audience interested. I think he is wrong - there is enough going on here, including some fine acting and cinematography, to appeal to audiences who like films with substance, a trajectory, and a sound sense of place and time.

If this movie had been made back in mid-century when Alfred Hitchcock and Stanley Donen and Billy Wilder were at their peak, it probably wouldn't get much attention. But given we're in an age where Transformers XVI is a possibility, a movie like this--taut, suspenseful, well-acted, well- written, is kind of a marvel. It doesn't promise a lot: there are no special effects, the plot twists aren't terribly surprising; in fact, nothing in the movie really surprises. But it's all so seamlessly put together, so pleasingly directed, and shot with such loving attention to the scenery, Two Faces is a real delight. Don't come with great expectations--come simply for the pure entertainment of what a movie can be when everything in it works well. (Also, it's based on a Patricia Highsmith novel, so you know that if nothing else, there will be sophistication and wit.)