In feudal Japan, samurai warriors that lost the lord they were supposed to protect become outcasts and wanderers known as Ronin. The opening scene introduces us to an interesting assemblage of contemporary characters comparable to ancient Ronin, chiefly in their method of operating, skewed sense of honor and solitary lifestyle, without the use of any dialogue in English and without much action. It’s an observatory moment in which we can form our own opinions about a group of mercenaries who are gathered together in present-day Paris for a dangerous mission. Their goal is to ambush a squadron of heavily-armed cars and steal a briefcase – the contents are unknown, the employer is a secret and the number of people who will be after them once the job is complete is also uncertain. But the payoff is a minimum of $40,000 (or $200,000 after De Niro is done negotiating), depending on the number of days necessary to succeed. With so few answers, it’s a waiting game for the skilled killers, just as it’s a mystery for the audience. Like the opening scene, much of the film is riveted with suspense due to the unknown. All we know for certain is that these men aren’t afraid of guns.

One is a transportation expert, Larry (Skipp Sudduth), another a weapons man named Spencer (Sean Bean), who slowly reveals himself to be less of an expert as the others, Gregor (Stellan Skarsgard) is a hi-tech computer guy, Vincent (Jean Reno) is simply a competent killer, and Sam (Robert De Niro) is a sarcastic negotiator, a man with the utmost expertise, but who reveals nothing to the others – the kind of guy who never walks into a place he can’t walk out of, needs to familiarize himself with the details of every situation, and one who won’t tolerate amateur night when it comes to assassins. Dierdre (Natascha McElhone) is the woman who set it all up, and acts as the go-between for the real employer and the hired guns. Sam is the smartest and the slickest, able to persuade and lead, and always thinks clearly, only momentarily distracted by Dierdre’s good looks. He’s also got connections – as the film progresses, Sam continues to impress and surprise.

As surveillance is taken, research conducted and information gathered, the day of the ambush slowly approaches. With the armored cars, security and heavy weapons, the group desperately needs another two guys to aid in the assault, but there isn’t time. The plan is well-conceived, the preparations adequate and the skills unquestionable. But once the chase begins, double-crosses, second-guessing and unexpected twists plague their every move, especially when the value of the case attracts the attention of the Russians, the Irish and several other factions that want to turn a profit.

With bazooka firepower, explosions, incredibly realistic, lengthy car chases and their highly destructive aftermaths, intricately choreographed in tunnels, under bridges, pursued by police and against traffic, shootouts on the streets of Nice comparable to Heat’s outdoor bank robbery escape, a little self-surgery and faultlessly quick wit, Ronin is a top-notch thriller. Director John Frankenheimer proves once again that he knows how to handle fast-paced action, white-knuckle suspense, and in-depth character studies, all under the guise of a cool guy film. But it’s much more brilliant when interpreted beyond face value, with sharp humor behind both the dialogue and the violence, and an educated theatrical parable of The 47 Ronin. The voiceover at the conclusion loses some of the momentum of the adventure, while the ending features a lone sniper preparing for the kill from afar, mimicking the finale of Frankenheimer’s 1962 masterpiece, The Manchurian Candidate.

- Mike Massie

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