American Star

Beautifully shot film with a great slow arc to a harsh climax.

Ian mcshane delivers a very understated performance but that's the point of his character, a man who shouldn't be noticed too much but can't help interacting with fellow islanders.

It reminds me of The Hit with Tim Roth, Terence Stamp and John Hurt.

The scenery is stunning, the performances are all brilliant, and a soothing score fills the film nicely.

Don't watch if you want a good paced film where lots happen in quick succession.

The female co-star is fantastic in her role and oozes charm when around mcshane.

A really great film, and one I'll watch again.

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.

McShane is as great as ever in this quiet, almost somber movie about a hitman waiting for a job in Fuerteventura.

The direction is very promising from Gonzalo Lopez who, from what I can see has done nothing of note but here seems to be inspired by The Hit or The American. It's artistic rather than arthouse and had me hooked for the first forty minutes or so. The movie then drifts a little before its climax and ending that will keep you guessing.

The cinematography of the the Canary Island is great and the supporting cast is excellent.

As said there are slow segments, but stay with it. I think it's worth it.

I really hate giving a film that has nice scenery and Ian McShane a bad review. McShane puts in yet another seasoned performance and sells this empty script as best he can. This should have been within a 30 minute TV show time slot but is needlessly extended almost 2 full hours.

In short, an aging hitman comes to an island and waits for the target to arrive. Dullness ensues and an eventual confrontation. While it ends poetically it wasn't too well thought out. There was one scene which really shouldn't have happened if this film was to be what it tries to sell and it doesn't sell what it purports to sell very well either. Instead, it resorts to absolute minimalism and lets you, the audience, try to fill in the huge blanks and empty spaces it leaves. And for 2 hours, that's a major chore as you wait for signs of something to happen. We got the point that we're on Island time but that doesn't mean the audience needs to eperience it in full.

The real problem - no back story so why should you care about any of the characters. Even the main character reveals precious little about himself and it's nothing more than skin deep. You're not missing much and the actors elevate a lazy script.

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.