James Hawes’ The Amateur, starring Rami Malek, is released in cinemas nationwide on 11 April.
Vengeance is not an uncommon theme within gritty pictures. From classic noirs like The Big Heat to Bond movies like Quantum of Solace, revenge makes for a compelling character motivation and an identifiable angle for audiences to invest in. Who hasn’t wanted vengeance in at least some capacity, after all? James Hawes’ The Amateur filters this angle into its vigilante espionage genre, pondering if a pacifist, with the right motivation, could become a killer. It is this exploration that works best in making The Amateur a fun if, at times, mundane thriller.
Based on the book by Robert Littell, Rami Malek plays Charles Heller, a CIA cryptographer. With his underground office, awkward demeanour and 170 IQ, he’s the textbook definition of a computer nerd, and the role suits him as he gets to flex his problem-solving abilities and, when off work, enjoy time with his wife Sarah (Rachel Brosnahan). Their marriage is fairytale-like, from the picturesque garden of their home to their playful teasing and the way Charles literally runs alongside her vehicle when she leaves for a business trip. It’s one of those movie relationships that’s so beautiful that it’s inevitable that someone will die.
Sure enough, Sarah is killed during a terrorist attack in London. Heartbroken and desperate for revenge, Charles successfully identifies the culprits of Sarah’s murder and brings them to his CIA superiors. When it becomes clear that his bosses won’t act out of political interest, Charles instead blackmails them into giving him field agent training so that he may seek out Sarah’s murderers himself. However, Charles has never taken a life and views the very idea of homicide with trepidation.
This ethical dilemma is at the heart of The Amateur. Even with his desire to avenge Sarah, it remains unclear if Charles really has what it takes to kill. Charles’ training officer, Henderson (Laurence Fishburne), articulates this particularly well, explaining that some things just can’t be taught no matter the effort, whether it’s Charles trying to teach him computer code or him trying to teach Charles how to kill. It puts the corrupting nature of vengeance under the microscope – even if Charles does find the nerve to kill, what would that turn him into?
Charles becomes quite an interesting character as a result of this. Author Alan Moore once said it takes “one bad day to reduce the sanest man alive to lunacy”, and the character arc of Charles wrestles with this belief. As he utilises his skill set for espionage thrills, Charles is torn between his conscience and his vengeful desires, making his plans more complicated and challenging to enact. It’s an absorbing inner conflict, and its presence hangs over the film, engaging our senses with at least a level of empathy for the protagonist.
Photo by John Wilson. © 2024 20th Century Studios. All Rights Reserved.
Malek is a charismatic actor at his best (Mr Robot; Short Term 12), but he’s somewhat ill-fitting here. His adorkable approach to the character, at least for the first act, wears thin as his quirky instincts and nervous mannerisms undercut the scenes of emotional heartache or cunning brainpower that follow the inciting incident. Thankfully, Malek’s performance improves as the film continues; his ability to put on an assertive face while masking the fear underneath is especially gripping. Charles may not have the suave of Bond or Bourne, but it’s a role that is not without flavour.
Once Charles is knee-deep in action, the narrative sticks closely to the espionage playbook – international travel to prominent cities, chase scenes, explosions, villainous lairs, a secret contact, and a grand conspiracy beneath the surface. The ability to suspend disbelief will be a significant factor in determining one’s enjoyment of this film, as Charles manages to stay one step ahead of the CIA while the plot gets bigger and more convoluted. It helps that Charles assisted in writing much of the code that the CIA employs – he and RWBY’s Arthur Watts would have a lot to talk about – but his ability to outwit those with superior technology and resources does pave the way to some exciting set pieces. This includes a chase scene between Charles’ car and a heavily armed speedboat, an ambush in a doctor’s office, and a swimming pool suspended fifty storeys in the air in such an architecturally pleasing way that you just know someone is going through it.
Shaky cam cinematography and a murky colour palette limit the visual appeal of the set pieces at times. The Amateur falls into the same trap as many recent blockbusters in believing that gloomy visuals make for a grittier story when, in fact, it makes some of the otherwise visceral, well-choreographed action harder to appreciate. The run-of-the-mill narrative may also hinder its appeal to those craving something bolder, or at least action scenes on par with Mission: Impossible.
There’s not much in the way of originality, but an energetic cast and the captivating character struggle at the centre of the story keep the film engaging. It’s disheartening to see Rachel Brosnahan, a versatile actor, in a role that embodies Gail Simone’s fridging trope, but she is magnetically charming in the little screen time she does get. Julianne Nicholson and Caitríona Balfe get small but impressionable roles, while Laurence Fishburne gleans a lot of fun as Charles’ training officer, a man whose skills and cynicism make for a unique foil to Charles.
As an espionage thriller, The Amateur is fairly rote, but there’s excitement to be found as an examination of how a thirst for vengeance can challenge or destroy one’s humanity. Director James Hawes previously helmed 2023’s poignant One Life, and seeing him further embrace espionage and action, building on his work as a director on Apple TV’s Slow Horses, is more than welcome. Going into The Amateur expecting The Bourne Identity is unwise, but there’s plenty to sink your teeth into for audience members looking to be entertained.
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