THE ART OF WAR / (2000) ** (out of four)
By Blake French:
The Art of War refers to an ancient handbook by a mighty Asian general named Sun Tsu, who hypothesized that wars can be won without physical combat. Numerous powerful leaders, including Napoleon, defeated their enemies by using the ideas of Sun Tsu. According to the action flick "The Art of War," Tsu's theories apply to the world of business and politics as they do to war.
"It's about strategy, manipulation and control, all the way through," says director Christian Duguay, whose credits include TV's "Joan of Arc," and "The Assignment." "The whole film is based on the theme of manipulation and the idea that things are not what they appear. That's what I think makes this film very unique and exciting."
Or how about confusing and hard to follow, better words to describe what Christian calls "one character manipulating the other, who is manipulating still another." The production notes inform us on the ancient techniques and strategy of manipulation, but "The Art of War" is not the movie to justify those principles. After half a dozen plot twists, even more action sequences, and probably more hidden character motives, this film becomes exactly what Tsu condemned: the actual fighting of war. There's enough action in this movie to classify it as a mixture of material arts and a James Bond, but after one perplexing situation after another, we simply toss our arms and stop caring altogether.
Instead of a plot description, let's examine the sources of this movie's recycled story. First, we get a man who is wrongfully accused for a murder he did not commit. In a strike of luck and personal investigation, he gets the chance to prove himself innocent after escaping from the police during a transportation accident. Yes, that sounds like "The Fugitive." Now throw in the film's follow up "U.S. Marshals," about an accused government agent using his insider knowledge while an Asian thug tracks him down. Combine the two similar plots and you get something like "The Art of War," straight from the recycling plant to your personal viewing pleasure.
Working with a forty-million dollar budget, Snipes himself performs many of his own stunts and combat sequences. The film does offer some exciting, if conventional, action sequences, but I wanted a smart plot about political tactics and clever espionage, not run-of-the-mill action. Anne Archer and Maury Chaykin contribute effective performances as the villains, and Snipes does good things with his character. But the plot just doesn't work. It houses too many characters, too many plot complications, and too much technical government stuff. "The Art of War" is pretty much an unimaginative telling of a tale we've already heard.
By Blake French:
The Art of War refers to an ancient handbook by a mighty Asian general named Sun Tsu, who hypothesized that wars can be won without physical combat. Numerous powerful leaders, including Napoleon, defeated their enemies by using the ideas of Sun Tsu. According to the action flick "The Art of War," Tsu's theories apply to the world of business and politics as they do to war.
"It's about strategy, manipulation and control, all the way through," says director Christian Duguay, whose credits include TV's "Joan of Arc," and "The Assignment." "The whole film is based on the theme of manipulation and the idea that things are not what they appear. That's what I think makes this film very unique and exciting."
Or how about confusing and hard to follow, better words to describe what Christian calls "one character manipulating the other, who is manipulating still another." The production notes inform us on the ancient techniques and strategy of manipulation, but "The Art of War" is not the movie to justify those principles. After half a dozen plot twists, even more action sequences, and probably more hidden character motives, this film becomes exactly what Tsu condemned: the actual fighting of war. There's enough action in this movie to classify it as a mixture of material arts and a James Bond, but after one perplexing situation after another, we simply toss our arms and stop caring altogether.
Instead of a plot description, let's examine the sources of this movie's recycled story. First, we get a man who is wrongfully accused for a murder he did not commit. In a strike of luck and personal investigation, he gets the chance to prove himself innocent after escaping from the police during a transportation accident. Yes, that sounds like "The Fugitive." Now throw in the film's follow up "U.S. Marshals," about an accused government agent using his insider knowledge while an Asian thug tracks him down. Combine the two similar plots and you get something like "The Art of War," straight from the recycling plant to your personal viewing pleasure.
Working with a forty-million dollar budget, Snipes himself performs many of his own stunts and combat sequences. The film does offer some exciting, if conventional, action sequences, but I wanted a smart plot about political tactics and clever espionage, not run-of-the-mill action. Anne Archer and Maury Chaykin contribute effective performances as the villains, and Snipes does good things with his character. But the plot just doesn't work. It houses too many characters, too many plot complications, and too much technical government stuff. "The Art of War" is pretty much an unimaginative telling of a tale we've already heard.