Vantage Point Reviews
The director, Pete Travis, is a pulse-pounding technological showman whose high-strung, quick-cut style might be described as JFK meets Paul Greengrass meets Jerry Bruckheimer. That said, it's not the plot that thickens -- it's the pulp.
While the title, trailer and commercials imply that we'll be carefully piecing together clues to a complex assassination attempt as seen from several perspectives, the final product turns out to be a tepid thriller that promises more than it delivers.
Reduces global terrorism to a Rubik's Cube suitable for an evening's entertainment. If that doesn't make you vaguely ill, by all means take this thriller for the shallow, gimmicky "ride" it aspires to be.
What is the real crime? Why, beating the audience about the ears, eyes and brain with essentially the same sequence of events from eight characters' points of view, none of which adds much more than deafening hysteria and identically dreadful music.
Vantage Point makes nice use of the heft of Dennis Quaid, Forest Whitaker, William Hurt and Sigourney Weaver in a story in which an assassination followed by an explosion gets revisited from eight points of view.
The problem with Vantage Point, or at least one problem, is that it depends too much on coincidence. The film relies on things breaking a certain way for nearly every plot advancement.
The sense of deja vu I had watching so many runaway vehicles crashing and smashing through the narrow cobblestone Spanish streets only reminded me how much more fun I've had watching the running of the bulls in Pamplona.
Chugging forward and chundering back, the movie keeps promising to whip up something hellishly complicated, but what keeps the movie going for an hour and a half is not a complicated plot but a stingy way of dribbling out information.