The Matador
Director: Richard Shepard
Rated: M
Now screening

Travelling salesman Danny Wright (Greg Kinnear) stops at a Mexican hotel, never imagining meeting someone like Julian Noble (Pierce Brosnan). Striking up a friendship, Julian reveals his job - as an assassin for hire. When he asks for assistance with a hit, Danny refuses, and they part ways. After a botched job, Julian tracks Danny down and asks for his help in staving off the wrath of his employer. This time Danny accepts, entering Julian's strange world, where cloak and dagger shenanigans are completely different to pitching a sale.

'The Matador' marks a turning point in Pierce's Brosnan's career. Now free of the James Bond role, Brosnan has decided to re-invent himself as a character actor, allowing him to show more range that his famous role restricted. Brosnan is excellent as a burnt out bi-sexual hitman who has nearly emptied his bag of deadly tricks. The loneliness of his profession and the desperation to find a true friend makes his role unusually sympathetic. He forms a creditable double act with Greg Kinnear, who is also good as a man thirsty for adventure.

The parallels between the two leads are interesting, in that they both want what the other has. Danny dreams of a life outside his dreary existence, whilst Julian craves the simple life over endless globe-trotting. The symbolism of the matador could have the men being red rags to each other, daring themselves to cross over into their worlds. Danny and Julian both provide a crutch for each other's personal problems, and provide a great healing method that medicine couldn't fix. The inclusion of Danny's wife, played by Hope Davis, further forms a comfort zone that appeals to Julian's sense of normality.

The witty screenplay moves at a brisk pace, with top-notch performances from all involved. The Mexican strand of the film is exceptional with the colours and music creating a different vibe to how the 'south of the border' is portrayed, and though the film loses something when it leaves Mexico the plot livens up again for the very exciting finale. The uber cool soundtrack is a pleasure to listen to, with some kitsch retro songs adding to the films charms. The gritty filming style and set design effectively shows off the world in which both men live in.

Previous non-Bond Brosnan films have been somewhat hit and miss affairs. Not so this one, with him displaying an acting confidence unseen before. The screenplay, acting and scenery are all well realised, with a light touch that never wavers. With more bold and provocative choices like this one, Brosnan's post-Bond career looks assured of longevity.

Patrick Moore