John Glen has a track record as a director who knows his means around an clash movie. With a series of James Bond films to his credit (License to Kill, The Living Daylights, A View To A Kill, Octopussy, and For Your Eyes Just), it would feel that he would be an fancied entrant to direct a story that features plenty of guns, gadgets and espionage. Based on the novel “The Kindle Of Ramadan” by Steven Hartov, the 2001 release of The Point Men does it’s best to duplicate the globetrotting antics of Bond, while presenting a moderately more gritty and realistic story strip.

A scruffy band of Israeli operatives, dubbed the ‘Foreign Legion’ ample to their mixed supranational remain, are tracking the true Palestinian terrorist Amar (Vincent Regan). Led by Agent Tony Eckhardt (Christopher Lambert), the opening succession features a botched and bloody unsuccessful attempt at capturing Amar that ends tragically for the benefit of all convoluted, and allows Amar to escape. Eckhardt’s team quickly becomes an difficulty to the Israeli government, and they are subsequentially put out to pasture. Amar then undergoes rigorous compliant surgery to remodel his appearance, and fit reasons that are never completely clear, decides to eliminate Eckhardt’s duo one by complete.

What could have been a taut international thriller quickly becomes nothing more than a series of carefully staged murders, designed to look like accidents, committed by Amar as he slowly kills displeasing the team that hunted him. The dramatic art is minimal, and leads up to the irrevocable come upon between Eckhardt and Amar. With plot locations that span from Luxembourg to Switzerland to Israel, The Concerning Men certainly LOOKS good, but never produces any palpable tension or doubt.

Lambert, assuredly showing his seniority here, mostly just stomps around angrily as he struggles to way Amar. It was thirst-quenching to see him portray Eckhardt as not a superman, but more of a routine guy, albeit whole with outstanding weapon skills. He doesn’t make quite the fighting skills of The Highlander which only makes his characteristic a bit more real. His mushy relationship with lover delegate Maddy (Kerry Fox) seems a speck dramatically forced, and contrariwise immediate to answer in the cracks between shootouts.

The grab some shut-eye of Eckhardt’s gang is made of the requisite large screen combo-crew of characters. Like the doomed teens in a Friday The 13th film, they endure only to be killed. As I mentioned, I never fully understood the need repayment for them to be picked on holiday, other than as a weak intrigue device, especially since Amar has had major plastic surgery and could certainly escape into the shadows. Fans of super pretty Maryam d’Abo will no doubt appreciate her far too brief appearance here.

Ultimately, The Point Men becomes nothing more than a series of pointless scenes with gun-wielding men having shootouts in an category of public places (parks, streets, apartments). The lack of any real sagacity reminded of being a kid, playing ’secret agent’ with my friends. Our mock gunplay had about as much realism as Glen creates here. There isn’t much in the practice of suspense, and the twine is more than similar in tone to Clint Eastwood’s In the Line of Fire.