Synopsis:
Following a tragic car accident in Greece, Beckett, an American tourist, finds himself at the center of a dangerous political conspiracy and on the run for his life.

Cast: John David Washington, Alicia Vikander, Boyd Holbrook, Yorgos Pirpassopoulos, Filippos Ioannidis, Vicky Krieps, Lena Kitsopoulou, Isabella Margara

Directors: Ferdinando Cito Filomarino
Writers: Ferdinando Cito Filomarino, Kevin A. Rice

Director Ferdinando Cito Filomarino’s feature English debut Beckett knows exactly the action-thrillers it wants to be. All of the pieces are here, and there are even glimmers of a much more exciting film. However, what’s assembled in Beckett will leave you with much to be desired.

John David Washington stars as the titular Beckett on a romantic getaway in Greece with April, played by the always charming Alicia Vikander. One night a disastrous car accident leaves April missing, and Beckett is on the run for his life from the police, without an idea as to why they’re trying to murder him.

What Beckett learns as the film progresses is that he’s fallen into a political conspiracy. Beckett slowly learns a new piece of information in each scene, and eventually, everything falls into place. It wouldn’t be too hard to guess the “twist” (if you want to call it that), but of course, I won’t spoil anything. However, I will give the film structure, which became very video-gamey after a while as each section of the movie played out like a new level, yet they all began to feel very similar.

Even Washington is playing a non-action hero type here, and although he’s not named the Protagonist like in Tenet, he does act like one. Every scene sees Beckett enter a new location, interact with some unbeknownst citizens, try to get help, run from the police, fall, get stabbed, and generally get hurt – rinse and repeat. This only breaks in the film’s final act as things wrap up, and Beckett looks to make his final play to save his life.

Possibly Beckett’s most significant problem is that the script does not allow any time for Beckett to grieve or show love for April. Aside from the film’s opening scenes, we’re expected to believe this man is so utterly in love and would do anything for this woman. However, once he’s on the run, Beckett has no time to talk to anyone about April or any time to solidify this relationship to the audience. I couldn’t get into it, and Washington himself seemed miscast, but I think many of the film’s problems rely heavily on the script.

Ferdinando Cito Filomarino has worked as a Second Unit Director for Luca Guadagnino on Call Me By Your Name & Suspiria. Both of which had Sayombhu Mukdeeprom as cinematographer, and whom Filomarino chose to shoot Beckett. Mukdeeprom has a unique style that can switch from photographic to raw and at times amateurish, which is best how to describe Beckett. I enjoyed Mukdeeprom’s style for Beckett as it added a claustrophobic sensation to the open landscape of Greece and the mountains. Paired with composer Ryuichi Sakamoto, they elevate the thriller sensations the script fails to meet on paper.

Beckett was initially supposed to get a theatrical release, but it’s better it didn’t in the end. It’s an over-long, dull thriller that thinks its political backdrop is more innovative than it is, especially when it isn’t saying anything particularly bold.

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