Eye for an Eye 

Eye for an Eye 

Stacey Anderson Sturman is a slang term used within ticker companies for managers of fingering turnover but one into the club on operative from the Get Go I and Vienna. But it’s terrible when assets are out on operations in this case, an RAI asset list of Russians, was collected to no avail. I was fully deactivated by the head office to prevent any more damage from being inflicted before ending up in who knows where.

Five years later, she now works as a saleswoman for a PR Company and her boyfriend Ken (Haymes) has recently proposed. However, Stacey is not immune to the repercussions of her former life as someone attacks her place of work. Because of her involvement in the case, somebody thinks that she knows much more about the list than she declared she did in her testimony. They both run away to Ken while trying to determine who it is the Russians, or a dissenting group within her old employers. Luckily, Stacey is more than ready for this. What was less anticipated is having to drag along her new fiancé somewhere.

The script here is quite decent indeed as it has its fair share of twists that are rather unexpected, especially toward the end. Still, this is one of those instances where a film has ambitions that are hugely overreaching given what it can offer. It is apparent from the very beginning, when the aerial strike that nearly wipes out our lead character in Tunisia is shown in awful computer graphics. This unfortunately sets the stage for what is to come next, as the production fails to provide an adequate depiction of explosions, gun-fights or blood squibs that are essential to the storyline.

Even some of the rooms seem to have been constructed using green screen techniques that are quite unconvincing. The other, non-digital aspects are not that impressive either and perhaps the producers should have hired a stunt double for the actress playing the lead role. Sturman gives it her all, bless her heart, but considering how often the character in practice needs to be physical, she needs someone like Amy Johnson or Zara Phythian.

Mmid way through, the pacing also appears to be dragging terribly. The first section, despite its shortcomings, is reasonably well done (although do the CIA really deliver disavowal speeches?), and, as already said, the conclusion certainly had several intriguing elements concerning Stacey, not the least of which was her history. However, that in between section, did not feature much that displayed anything interesting. This is the kind of film that I actually wanted to love as it clearly was a project rather than a cookie cutter studio effort. But emotion and passion can only take one so far.

Then, the technical elements like the sound design in some parts, which feels muffled and drenched in water are indeed an important hindrance to its entertainment value. It would probably have been more effective if they learnt how to be more realistic with their means; situated next to more refined films, the differences are clear and do not work in favor of this one.

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