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Rendition Our rating: Rate this movie   Your Comments: see all MPAA rating: R (for torture/violence and language) Genre: Drama Theater release: October 19, 2007 by New Line Cinema Directed by: Gavin Hood Runtime: 2 hours Cast: Reese Witherspoon (Isabella Fields El-Ibrahimi), Omar Merwally (Anwar El-Ibrahimi), Jake Gyllenhaal (Douglas Freeman), Meryl Streep (Corrine Whitman) Related: Talk About It/Family Corner

When Isabella Fields El-Ibrahimi (Reese Witherspoon) cannot get answers regarding her Egyptian-born husband Anwar's (Omar Merwally) sudden disappearance, she goes to an old college friend, Alan (Peter Sarsgaard), who now works in a senator's office. Alan deduces that the CIA may have secretly apprehended Anwar on terrorism charges (under the U.S.'s "extraordinary rendition" laws). Before he digs deeper, he asks Isabella if maybe Anwar had any connections, any ghosts of the past, any secrets that he needs to know.

Repeatedly, Isabella tells Alan, "You knew him. He's the same person. You know him."

But, unfortunately, what that fully means about Anwar is completely lost on the audience of Rendition. What does Alan know about Anwar that would make him understand Isabella's defense? What was Anwar like? What is he like now? The viewer doesn't fully know; we just take Isabella's word for it that if we knew him, we'd know he isn't a terrorist. When Alan asks detailed questions like "What mosque does he attend? Does he attend mosque?" no answers are given—only "You know him!"

Reese Witherspoon as Isabella Fields El-Ibrahimi

But we don't. And that's mainly because the film doesn't really present Anwar as a fully developed character. He might as well have been called Accused Terrorist No. 1. He's a character type—not a character. He's not the only one. Witherspoon is cast as Fretting Wife and her story is interweaved with those of Jake Gyllenhaal's Federal Agent Over His Head, Meryl Streep's Heartless Bush Adminstration Witch, and No Nonsense Arab Torturer (Yagil Naor). Few of the film's many characters feel like more than mere set pieces to prove the film's Big Political Point.

And that's the second check against Rendition: It's more political agenda than it is story. In the last several years, the many-character, multi-storyline agenda movie (dubbed the "Hyperlink Movie" by Roger Ebert) has almost become its own genre. (It's only a matter of time before a Scary Movie-type spoof lampoons it.) From Traffic to Crash to Syriana to Babel, these films have become a regular fall rush-for-the-Oscar occurrence. Like in all genres, the films vary in their effectiveness. But I would argue that the formula for success is well-modeled in the film that seemingly started the genre, Traffic. The ingredients? 1) Big names, great performances, 2) relatable, full characters, and 3) several divergent storylines which show many dimensions of the Big Political Point and how it connects seemingly unrelated people.

Omar Merwally as Anwar El-Ibrahimi

This third key is exactly where Rendition's political aims falter. It doesn't use its interweaving plots to show the different angles or discussion about its topic. It doesn't spread out the arguments and evidence and let viewers think for themselves. No, Rendition's meaning is quite clear: The current administration's misuse of Clinton-era rendition laws in the post-9/11 terrorism era only create more terrorism, hatred and innocent victims.

There's a great opportunity for this film to open a debate about ends justifying means, just war and the use of torture if it means keeping your nation safe. Instead of opening discussion, it chooses to be an infomercial with a contrived plot built to just sell one perspective. After all, only the film's narrow-minded, conservative antagonists suggest there could be any good from stiffened national security. Very clearly the film aims to make its point by saying, See, your husband could be the next one abducted and tortured—while you're pregnant! And no one will help you!

Of course, having a clear point or agenda is a not a bad thing—most filmmakers do. But Rendition's approach feels additionally preachy and one-noted because its message is bigger than both the story and the human element. That's maybe the biggest surprise about the movie because director Gavin Hood's breakout film, Tsotsi, succeeded purely because of its heart, humanness, and dynamic characters.

Jake Gyllenhaal as Douglas Freeman

Rendition does have some dynamic performances, even though it is weak on creating multi-dimensional characters you care about, weep with, and cheer for. For as much as the commercials play up the delimma of Witherspoon's character, she's not in the film much—and has little to do but look pained, pregnant and concerned. But like Alan Arkin and Peter Sarsgaard, she is solid with the character she has to work with—especially in one powerful scene where she confronts the woman who ordered her husband's torture.

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