In wide release, a small masterpiece by the author of "Hell or High Water" David Mackenzie — "The Dispatcher." Why the film deserves such a title — in our review.

A chance discovery by junior research associate Sarah Grant (Lily James) — secret documents proving the harm of her own corporation's products — instantly turns her life into a nightmare. Pursued by mercenaries, she hires an anonymous fixer (Riz Ahmed) to solve her problems. Soon things seem to be going well, but then the dispatcher realizes that he is attracted not only by the fee, but also by the client herself — lonely, frightened, and incredibly strong in spirit.

Director David Mackenzie returned to the big screen after almost a five-year hiatus, much to the delight of fans of quiet masterpieces or hidden gems of wide release. Once Mackenzie, together with Taylor Sheridan, as they say, "spat into eternity" by making the tough, naturalistic neo-Western "Hell or High Water", which became an absolute hit. After that, Mackenzie could have made nothing else and rested on his laurels.

But after the pause, it becomes clear that the director works conscientiously, not hastily, and does not rush headlong into various adventures, but carefully selects his material. Proof of this is his new film "The Dispatcher," which almost immediately charms with its atmosphere of high-quality, solid, and meticulously thought-out cinema. Not old-fashioned in any way, but made, so to speak, according to the canons of genre standards. In this vein, "The Dispatcher" easily defeats the recent film with Rami Malek, which, with roughly the same initial data, unexpectedly collapsed into pop psychology, turning into a story about therapy for coping with personal loss. "The Dispatcher," however, prioritizes exclusively spy mania in its laboratory form and a battle of wits, constantly playing with tension until the final credits, despite the inclusion of a romantic line. But even that Mackenzie works out carefully and without excessive sentimentality, reminiscent of the silent but so sensual glances of the characters from "Three Poplars on Plyushchikha." Glances. Pauses. Breathing. Riz Ahmed here has a minimum of lines; his character is one of those who speaks little and does more. A cold strategist, a professional. Yes, not everything in his life went perfectly, not for nothing does he attend Alcoholics Anonymous meetings, but he has strength and calculation. And the fleeting infatuation with the client and the associated risk is just work. Like in the 12-step program, to avoid such mistakes in the future.

Vitaly Gizatullin

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Open material

All the acting performances in the film are extremely organic. Riz Ahmed, it seems, can play anything with just his eyes, and his rare lines only enhance this image. The trio of antagonists is led by the retired (let's not mention "Avatar") but still excellent Sam Worthington. He feels great in the role of a hound on the trail; the very embodiment of determined danger. Lily James is a lonely woman in need of protection, whose life suddenly took a sharp 180-degree turn. Genuine chemistry arises precisely between the Ahmed-James duo. Their characters play a subtle cat-and-mouse game, where every glance, every silence is filled with emotional power.

Mackenzie guards the viewer's attention, strictly adhering to a long-tested algorithm of the spy thriller. True, he flatly refuses to shuffle scenes in different locations (for this, Eastern Europe usually serves), but compactly focuses on the urban landscapes of New York, also performing a kind of sightseeing function. Here is the famous Times Square, here is Grand Central Terminal, and here is much more that might remind you of a glossy tourist brochure. Against such a lush background, the human drama is more clearly visible, and the subtle work of the mind is almost invisible, which only benefits such a film.

However, Mackenzie still lacked the strength to endure to the end of the distance. From the film's finale with an unexpected twist a la "What a twist!" eyebrows begin to rise, but here the director shows directorial intuition and abruptly cuts off the narrative, not giving the viewer a chance to analyze what happened. Perhaps a second viewing will be needed. Not so much to find logic, but to experience the story anew, more thoughtfully. But even that won't spoil the impression. Because everything is done masterfully, with great skill and love for the profession.

"The Dispatcher" is a loud statement that the genre is still suitable for the big screen. It has a heart, which is made to beat by a director who is not afraid to spit into eternity again. And again, to hit the mark exactly.