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Movie Review: 'The Kingdom'

By James Carroll
Epoch Times UK Staff
Oct 05, 2007

Jamie Foxx in The Kingdom (Frank Connor/Universal Pictures)
Jamie Foxx in The Kingdom (Frank Connor/Universal Pictures)


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- UK Premiere of 'The Kingdom' Wednesday, October 10, 2007


From the get-go The Kingdom wants to make one thing clear: it is a serious movie. Opening with a funkily-designed, rapid fire history lesson on the Saudi oil industry, it swiftly cuts to a horrific attack upon a Riyadh Western Housing Compound that ultimately costs over 100 hundred people their lives.

Harrowingly realised, this attack is the catalyst for a crack US FBI forensic team to secretly enter Saudi Arabia in order to catch the perpetrator of the crime. Comprised of just four members – team leader Fleury (an on-form Jamie Foxx— Miami Vice ), explosives expert Sykes (Chris Cooper— Jarhead ), forensic examiner Mayes (Jennifer Garner— Catch & Release ) and intelligence analyst Leavitt (Jason Bateman— Smokin' Aces )—they have just five days to win over the distrustful local authorities, bring the killers to justice and get out alive.

A mishmash of ideas and genres, The Kingdom is one-third social-political commentary, one-third CSI: Saudi and one-third Hollywood action thrill-buster. Matthew Michael Carnahan's script draws obvious parallels with other Middle Eastern territories America has chosen to enter, whilst also ensuring that it doesn't paint the US as entirely blameless. To his credit he also doesn't over-egg any political pontification, looking to educate and entertain in equal measure rather than just give you the hard sell.

Directed with an assured hand by burgeoning film-maker Peter Berg ( Friday Night Lights ), The Kingdom bears many of the hallmarks of its influential producer Michael Mann. Shot with a sense of realism, many of the scenes are overlit and have varying sound qualities, whilst the banterish dialogue purposefully has the actors tripping over one another's lines.

Serious, political, contemporary and relevant, The Kingdom is also brave and bold in many of its decisions. In its final moments Berg cleverly cuts between the triumphant American "heroes" and the extremists they left alive; the line between their two goals is distinctly blurry when you hear what each have to say. It's a moment equally as powerful as the explosive opening and one that is sure to stay with you.

Four stars out of five

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