"Pierce got hold of the script and suddenly wanted to do it and it became a much bigger movie..." - Richard Shepard in "Austin Daze" magazine ***(end opening quote)***

At first Richard Shepard's "The Matador" seems too hip and cool for its own good. There's swinging classic alt_rock music, quick cuts, big colorful graphics and the story revolves around a cool-as-a-cucumber, bulls-eye hitting, hired killer who does his job in various world cities, slipping in and out of town without notice. It seems like a film weve seen a hundred times before only this time told by a young, wanna-be-Tarantino filmmaker.

This is juxtaposed against a rather contrived character played by Greg Kinear, a schlub with luck so bad that a tree falls through his kitchen roof as he tries to make love to his wife on the dining table. Knowing that these two characters will meet up in the film leads us to believe that we've got the story sussed even before the first reel is over.

But there is much more than meets the eye going on here and soon Shepard's script and the film delve into uncharted territory, offering up a deconstruction of the "hit man" genre film that is clever, witty and, most importantly, fresh as hell. Within minutes we are engrossed in the story and being pleasantly surprised by just how unique and humorous "The Matador" really is.

Pierce Brosnan is on fire here as the ageing hit man who begins to struggle with the demands of his job. Having been the best in his business for years, he is the Elvis of hit men. Yet he has nary a real friend. When his birthday rolls around he only has hookers and lock pickers in his "little black book" to call. Frustrated and bored, Brosnan's killer goes to a hotel bar and meets Kinear's marketing exec and the two form a tenuous and jagged friendship. The chemistry between these two actors is as intense and cohesive as we've experienced in any buddy film and watching them work out the plot together is nothing but joyous. Still, it is Brosnan that is the sparkplug that ignites every single crackling moment of intensity here. He doesn't just own this movie, he has moved in all his stuff after repainting and remodeling the place.

What happens in the plot of this film is as unique and interesting as anything you have ever seen on the screen. Shepard's script goes into territory that seems hitherto uncharted and the plot always seems to turn left when one assumes a right turn is directly ahead. The climax of this film, its big reveal, is one of the most wonderful, beautiful and brutally honest yet unexpected twists I've ever experienced in a film. It's a brilliant piece of writing.

With Brosnan, Kinear and Hope Davis breathing life into his intelligent and remarkable script, Shepard really only needs to turn on the camera and let the actors do their job. But his artistic flourishes and quirky direction ultimately help to turn the film into a completely winning enterprise. A scene where Brosnan walks through a hotel lobby in his bikini underwear is a particular stand-out. But it is, in reality, not just the most humorous and notable sequence in the film, its the most humorous and notable sequence in a film filled with winning moments. "The Matador" is a film that no one should miss. Brosnan and Shepard deserve every kudo this wonderful film will land them.

Notes:

With Philip Baker Hall and Dylan Baker.

Brosnan and Bob Yari are two of the numerous producers.

The film opens with The Jam's "A Town Called Malice" over the credits. Other songs are by Asia, The Cramps, and Tom Jones. Dave Van Norden's "Wee Small Hours of the Morning" is used very beautifully in one scene.

Filmed primarily in Mexico.

Brosnan is nominated for a Golden Globe for his performance.

The film premiered at Sundance in January 2005 and played at several film festivals. Weinstein opened the film on December 30th for its Academy Award qualifying run and a wider release was set for January 6th 2006.

Viewed at a press sneak at the screening room of the Austin Studios in December of 2005. The screening room was nearly impossible to find. I had never been to Austin Studios before, although I knew they were in the old airport, so I gave myself an extra 30 minutes to get there (it's about a 10 minute drive from Lodgopolis) and I only got there with 4 or 5 minutes to spare. There are no signs to help you find it from the street and then, once you do find it, the signs lead you to a little trailer that you simply cannot believe is a "screening room." There is no sign on the actual screening room door to let you know you are at the right place either. I had to ask someone if I was in the right place. When I got inside the little trailer, there are about 30 seats (up on risers so high my feet didn't touch the ground). I tripped on a step getting to my seat and nearly fell down. The screening did go off without a hitch though. The only others attending besides me was Marjorie Baumgarten of "The Austin Chronicle" and someone from the "Fort Worth Star Telegram"

Report Card

Script: A+

Acting: A+

Cinematography\Lighting: A+

Special Effects\Make Up: A+

Music: A+

Final Grade: A+