The Worst Film Ever

It's no definitive masterpiece but it's damn close.

Entertaining from beginning to end, it maintains the spirit of the franchise while establishing it's own seal with a fun cast

In truth, there is barely enough story here to make a film.

What you do if you have no story to tell is shoot some footage based around a current topic and hope that everybody will fill in the blanks. This tactic would probably be attributed to the character being kept in the dark, how convenient to base a plot on ignorance. Its irritating to watch. I thought the actor was OK until he played 'content and normal' then he was just amateurish and tedious. This might appeal to those people that have never once had a thought or feeling of their own, but movies should not be made for these people so there is no excuse.If you wish to remain on the topic of Islamic fundamentalists watch necessary killing, its like a realistic 'Rambo: first blood' with a terrorist as Rambo; much better, or the brilliant film by Chris morris, four lions.

This is a very good film that deals with an extremely challenging issue in a though provoking and humane way. This movie from first time director Jim Threapleton (I knew I recognised the name, him being the ex partner of Kate Winslett) is not easy viewing as it is not meant to be. The film is the story of Zaafir (an excellent Omar Berdouni) a university lecturer who deals with contentious issues such as democracy coming out of periods of violence and is also involved in programmes that promote learning in the Islamic world. Zaafir is suddenly taken of the streets by unnamed US and British agents and then transferred to an unnamed county to be questioned / tortured all in the name of justice. The torturer in chief is never named as they would not be but is played excellently by Andy Serkiss with the right amount of evil and malice mixed with the compassion he needs to draw information. The torture sequences are rightly hard to watch and you begin to see how confessions gained in such conditions truly are worthless. The film is well directed and the editing serves the story well switching from before the kidnapping tgo after the kidnapping to show how the events not only affect Zaafir bit all those close to him especially his partner. Indeed some of the scenes between them the dialogue is intentionally very low in the mix as the raw emotions of the torture play out. Highly recommended.

'Extraordinary Rendition' is a story about the kidnap and torture of foreign citizens by agents of the United States, in the context of suspected involvement of Islamic terrorism. But unlike Michael Winterbottom's 'The Road to Guantamano', which explored a similar theme, it eschews details for psychological insight into what it means to be tortured. There's an obvious message: say that people find God in adversity, or that the demonisation of Isalm is a self-fulfilling prophesy, but "we" are fighting this war in the wrong way on pragmatic grounds, even without consideration of the moral question. But the absence of specifics in this movie lets it down: there are echoes of the nightmare of '1984' about the vision it portrays, but while it serves as a warning, the story doesn't quite ring true - the suspect is made to endure a highly targetted and personal interrogation but we never learn why - and without definite context, the film risks making nothing more than the banal observation that torture is bad. The C.I.A. do kidnap and torture - but Winston Smith was justly guilty in the eyes of Big Brother, and you have to read the part of Orwell's book where Winston is free before you read the part about his imprisonment to truly understand. But this film makes no definite statements away from the torture chamber; making for a harrowing half-story, but a half-story nonetheless.

In the last few years, torture has become an indelible part of the film industry. Exhibit A: Saw, Hostel or any season of 24 from Day 2 onwards. Exhibit B: real-life footage that ends up on the internet. After 9/11, such material, while still disturbing, is no longer a rarity, but almost a customary element to insert in genre pictures (horror and thrillers, especially if political). As the latest addition to this trend, Extraordinary Rendition provides very little that hasn't already been told, its basic plotting and documentary-like execution making it come off as a poor man's 24.Instead of examining the methods that are used to extract information from well known terrorists, Jim Threapleton's feature focuses on the secret sections of governments all over the world that abduct innocent people and throw unfounded accusations at them. One such innocent person is Zaafir (Omar Berdouni), a London-based teacher who is found brutally beaten at Heathrow Airport in the movie's opening sequence. As he recovers and his girlfriend tries to get him to tell everyone what happened, those events unfold on the screen: we are shown the kidnapping, the container where he is held at first, the plane that takes him somewhere in the Middle East, the terrifying procedures that are used on him while a mysterious interrogator (Andy "Gollum" Serkis) continuously asks the same questions about some criminal Zaafir is supposed to know.The torture sequences are gruesome, and the added realism coming from the hand-held cameras and grainy cinematography ensure Threapleton manages to shock viewers with his argument: every day people are randomly abducted and harmed in all possible ways simply because they come from certain places or are associated with somebody who in return is associated with somebody else. This point of view is reflected very well: the interrogator never supplies any actual proof of the fact that Zaafir really knew the terrorist his organization is looking for, strengthening the theory that the poor fella was taken just because he was an Arab. That it never is specified what government Serkis works for also contributes to conveying the idea of this kind of thing being common everywhere.And yet... something is missing, and that's because the director gives too much attention to the wrong section of the film:like I said before, torture is not that hard to see nowadays, meaning the largest chunk of the movie eventually becomes wearing. Too much time is wasted on the "during", while Threapleton should have cared more about constructing the "before" (providing a solid back-story that would have made the protagonist easier to empathize with) and, more crucially, the "after", analyzing the effects of these illegal actions. Sadly, that is merely a footnote in the narrative, leaving audiences understandably unimpressed by a flick that has important things to say but is unable to articulate them convincingly.