The ダンサー Upstairs (Cert 15)

The ダンサー Upstairs, directed by John Malkovich, is certainly not a 災害 but nor, 率直に, is it the sort of film that will pack them in at your 地元の multiplex.

Based on the novel of the same 指名する by Nicholas Shakespeare, it is about the 追跡（する） for a ruthless テロリスト leader who has brought an 明示していない Latin American country to the brink of 革命.

Peru's 向こうずねing Path movement is 明確に the uncredited inspiration. Children are used as 自殺 爆撃機s, dead dogs are hung from lamp-地位，任命するs and 目だつ theatre-goers are 招待するd on 行う／開催する／段階 and 残酷に 遂行する／発効させるd. And no one knows why. Or by whom.

Called in to 調査／捜査する is Rejas (Javier Bardem), a lawyer-turned-policeman whose attractive but superficial wife is more 利益／興味d in nose-職業s than in the niceties (and not-so-niceties) of South American politics. Small wonder, then, that he is 徐々に drawn to the even more attractive and intelligent Yolanda (Laura Morante), his daughter's dance teacher.

The film is everything you would 推定する／予想する from Malkovich, who is known for his fondness for European art-house. It is slow, stylish and 井戸／弁護士席 行為／法令／行動するd by its authentic-looking Hispanic cast.

But the look isn't always matched by the content. 推定では for 商業の 推論する／理由s, the 対話 is in English. And the 陰謀（を企てる） is ひどく 扶養家族 on the sort of 発見s that might embarrass a debut thriller - the 捨てる of 演説（する）／住所 in the reflection of the villain's glasses, or the inscribed page of a Bible that just happens to match Rejas's own.

With the main 新たな展開 明らかな at least half-an-hour before it arrives, this is a good-looking and intelligent film that doesn't やめる work either as a love story or a political thriller.

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