At over two hours, Most Wanted' could stand to pick up the pace of its own investigation: Malarek's office squabbles and marital strains, in particular, are diversions that consume considerable screen time without accumulating much emotional weight. Mackenzie) who'd rather he just left the whole thing alone - viewers might arrive at it slightly ahead of him. Cue reversal, betrayal and a stint in the infamous Bang Kwang prison - portrayed here in suitably sobering fashion, though with slightly less baroque hellishness than in 2017's 'A Prayer Before Dawn, another true-life tale of a hapless westerner drawn into its violent confines.Īs Malarek pursues the truth of what exactly went down - to the grave consternation of his editor (J.C. Falling in with brutish low-level criminal Picker (Jim Gaffigan, playing seamily and effectively against type) is a dead end that pretty much anybody but the dim, desperate Léger could see coming: Soon enough, he's sent to Thailand to do a supposedly routine deal.
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An itinerant manual laborer with a drug habit and very bad taste in companions, he has a chequered personal history that is revealed only in patches - the blank spaces turn out to be crucial, particularly when the police identify him as an ideal patsy for an entrapment operation.
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Léger is presented to us with more human creases and question marks. He's lightly admonished for missing the birth of their first child to chase a scoop beyond that, Roby's screenplay isn't much concerned with Malarek's home life either.
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Malarek is established as a star print and TV newsman whose earnest commitment to truth-seeking hasn't made him many friends in high places, and a loving but inattentive husband to his wife Anna (Amanda Crew, thanklessly cast.
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Before then, Most Wanted' introduces its leads in leisurely fashion.
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It's a good 45 minutes before Pilon's and Hartnett's halves of the film intersect, exposing a staggered non-linear timeline that, while deftly engineered, doesn't yield quite the dramatic payoff you might expect. When the script shifts to matters of newsroom infighting and shoe-leather reporting, Hartnett takes the lead with his usual likeable diligence, but it's hard not to feel we've drifted from the film's live wire. You needn't be familiar with the true story to anticipate his arc here, but Pilon makes for volatile watching all the same. His gangly body language and penetrating, off-kilter stare suggest a real, bewildered inner rage, not defined simply by the tabloid-ready circumstances of his victimhood. What sparks of strangeness and intrigue 'Most Wanted' has emerge principally from the presence of Antoine-Olivier Pilon - the electric star of Xavier Dolan's 'Mommy' in 2014 - as Olivier, here renamed Daniel Léger for purposes of creative leeway. Victor Malarek, the real-life journo who uncovered the agents' corruption, retains his identity in Roby's telling, though as played with furrowed brow and gruff virtue by Josh Hartnett, he's a movie hero through and through. Writer-director Daniel Roby has fictionalized the grim story of Alain Olivier, a small-time drug dealer tricked in 1989 by Canuck police into traveling to Thailand to orchestrate a major heroin score, landing him several years in a local prison. So it proves, again, in 'Most Wanted, a fact-based Canadian procedural of police skulduggery and journalistic derring-do that does its own job with proficient integrity, but as much inventiveness as you'd guess from that all-purpose placeholder of a title.
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The hard-headed reporter who doesn't play by the rules is a stock character of films that invariably do.