Vantage Point
Dennis Quaid, Matthew Fox, Forest Whitaker, Sigourney Weaver, Eduardo Noriega, Edgar Ramirez, Saïd Taghmaoui, Ayelet Zurer and William Hurt
Director: Pete Travis
90 Minutes
Columbia Pictures
2008
Rating: M15+

Not much about this unique plot can be revealed without giving too much away. Suffice to say, the narrative revolves around the assassination attempt of the President of the United States (William Hurt) while attending a summit in Salamanca, Spain. This event is first presented from the point of view of television producer/director Rex Brooks (Sigourney Weaver) up to the moments just after the shooting - then is 'replayed' from others' perspective, including Secret Service Agent Thomas Barnes (Dennis Quaid), Spanish Policeman Enrique (Eduardo Noriega), American tourist Howard Lewis (Forest Whitaker) and the President himself. As one would expect, after several replays from various individuals' point of view, the narrative naturally progresses - in a way an amalgamation of the main characters' viewpoints and plot threads - to its resolution.

Notwithstanding the potential logistical nightmare of filming a crowded and chaotic action sequence repeatedly from multiple angles, what one sees on screen is quite impressive. What director Pete Travis, cinematographer Amir M. Mokri (Taking Lives, Bad Boys II) and editors Stuart Baird (Casino Royale, Demolition Man), Sigvaldi J. Kárason and Valdís Óskarsdóttir have pieced together is admirable, at least technically if nothing else. Almost every type of camera work and editing is incorporated, from the conventional still wide shots, to the use of the handheld with momentary fast forwards/rewinds and flash frames, all of which seamlessly captures and enhances the intensity, immediacy and turbulent nature of the event as well as cleverly threading the different characters' perspective together. Of course, by intentionally setting the story in Spain and not in the US, with the crowd and the typical Spanish weather, the tension is already high; the art direction and set design no doubt also contributed to the overall heated atmosphere along with the photography.

The score by Atli Örvarsson certainly has its heavier moments with the more contemporary synthesizer and distortion guitar work. Overall, it had a noticeable presence without ever feeling too dense. Perhaps that is a compliment to a composer within this genre - for the music to serve a functional role by increasing the thrill and tension without drawing too much attention to itself, thus distracting the audience from the screen. However, it probably could have been more held back, allowing the visuals to speak for themselves, to make the film more raw.

Given the short time frame which the narrative covers, this feature would be considered by some to lack substance. In terms of character development, that would be true because there is almost none nor could any be expected. In terms of plot, that would also be true in a way because it is centered on a particular event and the few minutes afterwards. Given its tight structure, the film is basically a thrilling exposition and ironically, that is perhaps its weakness. It is, to a certain degree, more intriguing and gripping to see the individual viewpoints than to see the end itself. Some elements in the plot are even predictable and unrealistic. Having said that, the entire cast is solid, their screen presence indubitably helping to captivate the audience.

In such a relativistic and subjectivist age, it is interesting and a relief to see a film that displays the different standpoints of individuals and without belittling any of them, yet converges onto one "truth" as the tagline advertises. Despite some weaknesses, Vantage Point is a well produced, clever and engrossing film worthy of seeing.