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The final lines spoken in the movie redeem Berg of a lot of the mindless action that preceded them. What separates "The Kingdom" from "Shooter" is its message, though. In its best moments the action looks like something out of "The Bourne Ultimatum", in its worst the movie could be "Shooter". I'm not a fan of it usually, but here it was alright). Technically the action scenes are developed pretty well (I don't share the common criticism of other reviewers that the shaky cam distracted too much. The movie goes way over the top from this moment on and turns into something Jerry Bruckheimer might have thought up. This becomes more apparent in the final act, which starts with a car crash and continues with countless shootouts. It's not a fatal flaw, but it definitely prevents the movie from becoming more than just an action flick set in the middle east. It's the old "cowboy"-image Hollywood has always tried to convey in its war movies from the 80's, that should really have been left behind by now. What's really off-putting is that the Americans come across as constantly joking, relaxed, but at the same time totally competent people. In the second act the movie loses some of its pace and we get to know the characters a bit more. The first act plays out as a very good depiction of terror in the middle east. and Saudi Arabia and sucks you right into the story. The gripping opening montage documents the connection between the U.S.A. The problem is that it doesn't really know whether it primarily wants to be an action movie or a political comment. Peter Berg's "The Kingdom" is a thrilling movie, that's out of the question. That said however, The Kingdom delivers a smart, taught, evenly balanced thriller that easily shapes up as a heavyweight in this year's run for the Oscar. One day Hollywood will learn that this type of cinematography just doesn't cut it.
It's also yet another victim of the hand-held cameraman suffering from Delirium Tremens, complete with blurry and shaky shots that rarely allow the viewer to actually focus on the images being played out. I said The Kingdom suffered from one flaw? On second thought, make that two. From there, the audience is treated to a top notch story that nicely touches on everything from culture clashes, forensic revelations, kidnapping, religious doctrine, and the self perpetuation of hate, all of which culminates in a final half hour of riveting, vicious, blood spattering action.
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However, thanks to a fortuitous face-to-face between the American "guests" and a Saudi Prince, Al-Ghazi is given free reign to lead the US investigators as they try to uncover the mastermind behind the attack. Al-Ghazi, who was at the scene of the initial attack on the compound, initially plays the role of hamstrung go-between relegated to babysitting and restricting the movements of the FBI at the urging of higher-ups. Al-Ghazi, a man dedicated to his profession, with an acute sense of fair play, protocol and justice. While Jamie Foxx, Jennifer Garner, Chris Cooper and Jason Bateman all get top billing, the real star of this story is Ashraf Barhom who plays Saudi police Col.
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The movie deserves full marks for refusing to dumb down its story and make the Saudis appear as little more than window dressing to a big screen American shoot-'em-up. With the political jabber out of the way, The Kingdom gets down to the meat of the script, shifting the Saudi investigation into high gear and refusing to take its foot off the accelerator. Fortunately, Berg pulls the film out of this quagmire that threatens to put the breaks on the movie almost as surely as the political attempts to nix the joint investigation. From there the movie almost threatens to get bogged down as it shifts focus to the political machinations both hindering and enabling a joint Saudi/FBI investigation. Matthew Michael Carnahan's script starts out hitting all the right action beats as it unfolds with a vicious terrorist attack on a Saudi compound housing employees of an American oil company (the movie draws inspiration from the 2003 compound bombing in Riyadh). However, it should have been decided at the outset to make this movie either a political or action thriller, and gone with one or the other. That's not to say The Kingdom isn't a terrific film, because it is. OK, maybe not all things as it definitely doesn't try the romance angle. If there's one flaw plaguing Peter Berg's The Kingdom, it's that it tries to be all things to all people.
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