'Spartan' has all of the Mamet trademarks--unlikely twists and double-crosses, cynicism about power and the nature of information control, and, foremost, the tough, rhythmic, poetic dialog that is both a pleasure to watch and an obvious thrill for the actors to deliver. Unfortunately, 'Spartan' feels a bit formulaic, as if Mamet were consciously plugging his characteristic style into a typical genre thriller for a rather calculated effect. Nevertheless, it's suspenseful and compelling, and contains one of the better performances from Val Kilmer in recent memory.
Kilmer plays 'Scott' (sometimes called 'Bobby'), a black ops specialist so deeply involved in covert operations that not even the government agents he works for know who he actually is. At times, Scott doesn't seem to remember himself, which is part of the desired effect: Kilmer's Scott has been an operator for so long he functions almost like a machine. The dramatic core of the film is Scott's awakening humanity as he becomes committed to recovering the daughter of the President, whom he believes to have been unwittingly abducted into a white slavery ring. The film frames itself nicely around an opening scene in which Scott participates in a training exercise for aspirants hoping to join an elite, Delta Force-style cadre from which Scott has presumably graduated, in which he makes the acquaintance of Curtis (Derek Luke) and Black (Tia Texada), novice operators who aspire to be international black ops bad-asses like Scott. Scott then leaves the exercise and is abruptly informed that the President's daughter has been abducted. With Curtis as his second, Scott begins the investigation that will ultimately lead him 'off the reservation' in a rogue attempt to recover the girl, who may or may not have been abducted and may or may not be dead.
Mamet is always a stickler for authority and accuracy, and despite moments of inconsistency, 'Spartan' is persuasive in its presentation of special forces' tactics and the mentality of real-life secret agents. Kilmer is a pleasure to watch as he recites Mamet's signature tough-guy talk, the rhythms of which pour forth from his Scott with poetic flow. The supporting cast is equally strong (especially Derek Luke as Curtis), but this is Kilmer's show, and he makes the most of it.
Unfortunately, there are a number of flaws and inconsistencies, which I won't mention here to avoid spoiling the plot. The pacing is also a bit quick, though it feels accurate to the rate at which a real-life recovery operation would take place. Mamet has often commented that for film or theater to qualify as art it should upend the audience's expectations, and while this film is engrossing, it ultimately edges toward a formula that feels overly familiar. Nevertheless, 'Spartan' is genuinely suspenseful and entertaining, even if it fails to match the standard set in Mamet's best films and plays.
It's certainly far from Mamet's best, but 'Spartan' still delivers as entertainment. It's no 'Glengarry Glen Ross,' but go in expecting a good genre thriller and you won't be disappointed.
Kilmer plays 'Scott' (sometimes called 'Bobby'), a black ops specialist so deeply involved in covert operations that not even the government agents he works for know who he actually is. At times, Scott doesn't seem to remember himself, which is part of the desired effect: Kilmer's Scott has been an operator for so long he functions almost like a machine. The dramatic core of the film is Scott's awakening humanity as he becomes committed to recovering the daughter of the President, whom he believes to have been unwittingly abducted into a white slavery ring. The film frames itself nicely around an opening scene in which Scott participates in a training exercise for aspirants hoping to join an elite, Delta Force-style cadre from which Scott has presumably graduated, in which he makes the acquaintance of Curtis (Derek Luke) and Black (Tia Texada), novice operators who aspire to be international black ops bad-asses like Scott. Scott then leaves the exercise and is abruptly informed that the President's daughter has been abducted. With Curtis as his second, Scott begins the investigation that will ultimately lead him 'off the reservation' in a rogue attempt to recover the girl, who may or may not have been abducted and may or may not be dead.
Mamet is always a stickler for authority and accuracy, and despite moments of inconsistency, 'Spartan' is persuasive in its presentation of special forces' tactics and the mentality of real-life secret agents. Kilmer is a pleasure to watch as he recites Mamet's signature tough-guy talk, the rhythms of which pour forth from his Scott with poetic flow. The supporting cast is equally strong (especially Derek Luke as Curtis), but this is Kilmer's show, and he makes the most of it.
Unfortunately, there are a number of flaws and inconsistencies, which I won't mention here to avoid spoiling the plot. The pacing is also a bit quick, though it feels accurate to the rate at which a real-life recovery operation would take place. Mamet has often commented that for film or theater to qualify as art it should upend the audience's expectations, and while this film is engrossing, it ultimately edges toward a formula that feels overly familiar. Nevertheless, 'Spartan' is genuinely suspenseful and entertaining, even if it fails to match the standard set in Mamet's best films and plays.
It's certainly far from Mamet's best, but 'Spartan' still delivers as entertainment. It's no 'Glengarry Glen Ross,' but go in expecting a good genre thriller and you won't be disappointed.