The Jackal
1997 · Directed by Michael Caton-Jones
Original language: English
- action
- crime
- thriller
The story
Hired by a powerful member of the Russian mafia to avenge an FBI sting that left his brother dead, a psychopathic hitman known only as The Jackal proves an elusive target for the people charged with the task of bringing him down: a deputy FBI director, a Russian MVK Major, and a jailed IRA terrorist who can recognize him.
What it’s like
Cool, glossy 1990s studio polish: wide, saturated city exteriors in Washington and Montreal, rain-slick streets, sleek interiors of hotels, safe houses and government offices lit in cold blue and steel-grey, with warm amber spill for the quieter character scenes. The camera moves with confident, mid-range coverage and crisp editing, while the score leans on brooding orchestral strings and a bass pulse that swells into bursts of gunfire and chase noise. Its vibe is slick, tense and faintly cynical, the sort of sit-up-and-pay-attention evening thriller for a Friday night when you want stakes, a steady build and a few sharp set pieces. The rhythm is methodical, with long stretches of stalking, surveillance and cat-and-mouse dialogue broken by sudden, sharp violence: shootings and an explosion, with blood and bullet wounds shown plainly but not lingered on. Emotionally it stays cool and detached, following an unflinching professional and the uneasy alliance of wary rivals, with little warmth beyond a few grudging moments of respect. Intensity is moderate to high: frequent gunfire, a bombing, a torture-tinged interrogation and a violent finale, with no gore beyond the expected. Best for fans of 90s action thrillers, political espionage and hitman cat-and-mouse who are happy with grit and tension, not gentleness.
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