A stargazer's delight, if, anyway -- and it's a big if -- you can take delight in gazing at Brad Pitt and Angelina Jolie (lips and more lips), worshipfully photographed by Bojan Bazelli, and pamperingly enshrined in an ambience of pristine showroom opulence. There is space in this firmament for no one else, apart from a small corner for Vince Vaughn and his dimming persona of sociopathic glibness. The two stars play a husband and wife whose passion has gone out of their marriage after "five or six years," depending on which one you ask. Unbeknownst to either of them, they both happen to be top-level, high-tech assassins for rival espionage agencies, and once this fact becomes known to them they are obliged to turn their sights on each other. If -- another big if -- the situation may shape up for a while as a darkly comic metaphor on the slow death inherent in the conjugal life, this impression, this hope, cannot survive their mutual revelation, after several sincere attempts at pre-emptive annihilation, that their love remains strong, that their passion can be rekindled by means of a common enemy, that their romance after all is not darkly comic, but brightly. And if -- a final big if -- filmmaker Doug Liman (Swingers, Go, to start with) can be seen to have come through The Bourne Identity with his "promise" unbroken -- the promise of a filmmaker with, or on, an edge -- he here undergoes a harder whack on the chisel. (2005) — Duncan Shepherd
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