Politely provocative slice of contemporary London falls short of aspirations but remains compelling enough to recommend as thoughtful entertainment. A sleek production helps punctuate these dramatic, intertwining narratives all revolving around the recent break-ins occurring at a brand new warehouse. Around this circumstance, competent writer/director Anthony Minghella weaves a little web of intrigue to help highlight the many insinuations this title bears. Exuding a sophistication the material cannot quite live up to, Breaking and Entering still remains a mature enough study into the psychology of adults to be met with class in the States.
Though it is a British film, Minghella knows how to mix his country's knack for depth with America's taste for more simplified, dumbed-down material to come up with a greatest common denominator of mainstream drama. With a sharp soundtrack, filming grimy nightlife around King's Cross through the seductive lens of Benoît Delhomme helps counter many of the scripts blemishes, which do come up more then one would hope. It is a script with more vague intentions then grave actualizations, only becoming thematically viable when a redemptive core gathers near the end.
Helping this literate soap opera along, an adept trio of star players breathe life into the film's many gray areas. Jude Law, Robin Wright Penn, and Juliette Binoche all sink their imaginary teeth into the emotional strain that surrounds an escalating connectivity. Law is one of Hollywood's most sensitive romantic lead actors, but his skills of perception still lack in the face of female counterparts, particularly Binoche in an assured take. Penn, also a great actress, plays more second or third fiddle in the narrative hierarchy, and despite relatively same amounts of screen time, feels under-utilized. For all it's structural and thematic annoyances, Breaking and Entering still proves that the popcorn is a helluva lot crunchier overseas.
Though it is a British film, Minghella knows how to mix his country's knack for depth with America's taste for more simplified, dumbed-down material to come up with a greatest common denominator of mainstream drama. With a sharp soundtrack, filming grimy nightlife around King's Cross through the seductive lens of Benoît Delhomme helps counter many of the scripts blemishes, which do come up more then one would hope. It is a script with more vague intentions then grave actualizations, only becoming thematically viable when a redemptive core gathers near the end.
Helping this literate soap opera along, an adept trio of star players breathe life into the film's many gray areas. Jude Law, Robin Wright Penn, and Juliette Binoche all sink their imaginary teeth into the emotional strain that surrounds an escalating connectivity. Law is one of Hollywood's most sensitive romantic lead actors, but his skills of perception still lack in the face of female counterparts, particularly Binoche in an assured take. Penn, also a great actress, plays more second or third fiddle in the narrative hierarchy, and despite relatively same amounts of screen time, feels under-utilized. For all it's structural and thematic annoyances, Breaking and Entering still proves that the popcorn is a helluva lot crunchier overseas.