Brilliant, if intensely slow, depiction of the cold, emotionless side of government.

Rating: 8/10 (26 April 2008)

It took me months to get around to watching the Good Shephard, even after I bought the DVD, mostly because of the prohibitive running time, and despite the fact that this is a good, solid, smart production, and I know that films that approach three hours with a cast of this caliber are generally some of the best ones released each year. It's an unflattering portrayal of the underbelly of government, particularly formation and initial troubles of CIA, and all of the betrayal and lack of trust that is inevitably involved.
At the moment, I am considering what major to pursue for my Master's degree, and I have toyed with the idea of getting a Master's that will be conducive to a career in the CIA, but every time I see a movie like this it makes me rethink the idea. Maybe I should stick to Jack Ryan movies. But for the record, this is directed by Robert DeNiro, and that is just cool, man. The only other movie that he ever directed was A Bronx Tale, 15 years ago ("Now you's CAN'T leave").
The film is overflowing with cryptic, secretive talk, particularly at the beginning, which may be a little confusing for some viewers, at least until you realize that it's that confusing just to show you how deep their security is. No one really seems to talk about what they're really talking about, and they run you around in circles a lot because you are not supposed to understand it all, you just need to understand that they are discussing top secret matters.
Matt Damon, in one of his best (and definitely his most subdued) performances yet, plays Edward Wilson, a CIA agent who tragically was born without emotions, and so goes through almost the entire film without showing the slightest bit of feeling, except for a handful of rare moments. Sadly, because much of the story is told like that, the movie is absolutely as dry as a bone, but I also appreciate that it never shoots to be a popcorn thriller. Then we would have had a fifth Ryan film, and this is supposed to be non-fiction.
There are several scenes that focus on the mysterious (and suspicious, if you ask me) club Skull and Bones, which supposedly boasts the membership of lots of people holding top positions in government and business, including the US Presidency, which is a little strange to me since it is so clearly just college fraternity. It's a goofy club where guys get drunk and perform bizarre rituals and have secret handshakes and they all stand up in unison when called upon to do so before meals. As adults (and wealthy, educated ones, at that), I would think that this childish nonsense would start to get a little embarrassing. Angelina Jolie's Margaret "Clover" Russelll certainly realizes the bone-headedness of it ("Bonesmen first, God second"), but her exasperation goes nowhere. Then again, it's an intensely wealthy club with three piece suits (even when they're peeing on the new members, who are wrestling in mud) and a stunning retreat at Deer Island. No word on where all that money comes from. Maybe that's one of their secrets. At least girls are allowed though!
At any rate, Wilson takes an assignment from CIA (just CIA, not "the" CIA, because, after all, you don't say "the" before God, do you?) that involves living in a foreign country for so long that he alienates his wife and his son grows up without him. The film's biggest achievement comes in a portrayal of how history repeats itself, which is presented well enough although also gives the movie an ominous meaning.
Sadly, you may find it hard to keep up with the sheer number of brilliantly talented actors who are grossly underused here, as though there were so many people who wanted a part in this movie that they lined up and took whatever was offered, however small. Joe Pesci, one of the most conspicuous, shows up for a single scene and then disappears.
Nonetheless, the movie treads dangerous ground in presenting the material that it focuses on, and I appreciate that it has the nerve to talk badly about some of the contradictions of our "national security" system ("I don't think either of us wants a REAL war. What would we do for a living then?"). There is also the presentation of a surprisingly interesting analysis of a mysterious short film, which the CIA analyzes with astonishing detail and which will become a crucial plot element later.
I think the movie would have been easier to take if it had been shorter by about an hour, if only because I get the feeling that a good part of the reason that it is so long is because there are so many lingering scenes with little happening, something that Kurosawa was brilliant at, but that doesn't work quite as well here. History buffs are sure to appreciate the movie, although may also be put off by any inaccuracies. For the rest of us, if nothing else, you can always keep your eyes peeled for the quick peeks at some great actors who pass by throughout the movie.