Movies

Beckett: Thrills Overwhelm Thin Plot

Martin Cid

The opening scene of Beckett (2021) is a masterclass in tension: John David Washington‘s character, an American tourist, speeds through the Greek countryside, his rental car careening around hairpin turns as an ominous black sedan pursues him. Director Ferdinando Cito Filomarino leans into the chaos with shaky handheld camerawork and a pulsating score, plunging us headfirst into a conspiracy thriller that never lets up.

What works here is the relentless pacing. Filomarino crafts a visual feast of Greece’s rugged landscapes and labyrinthine streets. The action sequences are visceral and immersive, with long takes that amplify the stakes. Washington delivers a physically committed performance, selling the desperation of a man caught in a web of political intrigue he doesn’t understand.

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Yet, the film falters in its narrative ambition. The plot, which sees Beckett framed for a crime he didn’t commit, is a well-trodden path in the thriller genre. While Washington’s charisma keeps us engaged, the supporting cast—including Vicky Krieps as his love interest and Panos Koronis as a shadowy figure with ulterior motives—lacks depth. The political conspiracy at the heart of the story feels underdeveloped, reduced to a series of chase scenes and shootouts that prioritize spectacle over substance.

The film’s originality lies in its setting and the way it uses Greece as a character. The country’s history and modern-day complexities add texture to the story, even if the script doesn’t fully explore them. However, the genre fit is where Beckett stumbles. It borrows heavily from the Bourne films and other action thrillers, never quite carving out its own identity.

In the end, Beckett is a high-octane ride that’s elevated by Washington’s performance and Filomarino’s dynamic direction, but let down by a derivative plot and underutilized supporting characters.

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