********* SPOILERS **************
An assassin, who has successfully eluded the CIA for twenty years, enters Britain like the man from milk tray, rather than with a false passport. He approaches a heavily-guarded, monitored house like an accountant on a paintball mission, tries to kill his target by shooting blindly through walls, and limps back to the woods. Meanwhile, the highly-trained British armed police are fussing over a pot-noodle.
A lone eagle circles, the assassin meditates cross-legged on a hilltop, the music goes all spiritual - is the writer trying to draw a mystic veil across the bonkers plot? Such as why the Secret Service don't follow the man they know is buying supplies for him in Streatham High Street, or venture more than 5 yards away from Frank's house in the search.
The central romance goes something like this :
Gavin/Frank.......Hello. What's your name?
Meryl...................Meryl. What's yours?
Gavin/Frank.......I can't tell you anything about my past.
Meryl...................Will you move in tonight?
Later.....
Meryl...................I thought I knew him, but I never really did at all.
Only more abrupt.
The villagers then besiege Kemp's house, in a belated coup to steer the film away from the nonsense and towards Straw Dogs. Alas, it is too late. Ross Kemp makes a rousing speech, and they shuffle off home embarrassed at their behaviour (as well they should be).
To finish on a positive note, the clichéd, and much repeated dialogue (almost as though the programme was designed to go out in 30 installments) required great courage on the part of the actors, and they, at least, should be commended.
An assassin, who has successfully eluded the CIA for twenty years, enters Britain like the man from milk tray, rather than with a false passport. He approaches a heavily-guarded, monitored house like an accountant on a paintball mission, tries to kill his target by shooting blindly through walls, and limps back to the woods. Meanwhile, the highly-trained British armed police are fussing over a pot-noodle.
A lone eagle circles, the assassin meditates cross-legged on a hilltop, the music goes all spiritual - is the writer trying to draw a mystic veil across the bonkers plot? Such as why the Secret Service don't follow the man they know is buying supplies for him in Streatham High Street, or venture more than 5 yards away from Frank's house in the search.
The central romance goes something like this :
Gavin/Frank.......Hello. What's your name?
Meryl...................Meryl. What's yours?
Gavin/Frank.......I can't tell you anything about my past.
Meryl...................Will you move in tonight?
Later.....
Meryl...................I thought I knew him, but I never really did at all.
Only more abrupt.
The villagers then besiege Kemp's house, in a belated coup to steer the film away from the nonsense and towards Straw Dogs. Alas, it is too late. Ross Kemp makes a rousing speech, and they shuffle off home embarrassed at their behaviour (as well they should be).
To finish on a positive note, the clichéd, and much repeated dialogue (almost as though the programme was designed to go out in 30 installments) required great courage on the part of the actors, and they, at least, should be commended.