A Pretentious Close-Call.
Nachmanoff is far from being serious about the sincerity he ought to ooze in such geo-political themed film, the final answer is unbearable. With none whatsoever rhythm, this overly ridden feature relies upon the caliber of the promising cast, which they hold on to it as always. The first act, a sleazy escape that whispers nothing but close calls has a poor build up to expect it to enchant the viewers. Such intense sequences are often and should, enter the film in its latter stages, in order to convey the fear or the stakes among the viewers.
After which, the film digs up into familiar land and pulls out nothing but a bunch of cliches as the so called surprising element, that may be justifying but can be seen far before it even hits the screen. This good cop gone bad and vice versa on the other side of the door, just doesn’t work. Often when there is not enough content to drive the stick, the screenplay allows the cast to handle the wheel, unfortunately, the window of allowing Pearce and Cheadle to strike horns on screen is shucked out of the table carelessly.
Cheadle; as the torch bearer, the see-saw of the game, pours his heart into the film and serves us enough reasons to survive this quest. Pearce is equally challenging to Cheadle with Daniels getting few stand out moments. The theme where Cheadle often resists in the film is worth exploring, the preaching on the nobility and fair and unfair trials that is put upfront on the screen, gives enough room for him to stretch his muscles. Traitor cannot be considered as a thriller, there is very little to be thrilled about, and as far as drama is concerned, this already experienced dull venture of right and wrong is getting outdated.