Irrespective of the slow-to-emerge (but much-publicized) thesis about American collaboration in the death of an American journalist during the 1973 overthrow of the Allende government, there is plenty here that is believable. Much of that "plenty" is crammed into the tense first half-hour, which re-creates a Latin American military coup from the narrowly subjective viewpoint of visiting Americans who (like the movie audience) do not quite know what is going on. With the eventual disappearance of the journalist, the entrance of his businessman father (a take-charge kind of guy) to spearhead the search, and the immediate proliferation of unctuous American bureaucrats, one begins to hear clearly the sounds of Costa-Gavras's habitual axe-grinding. And the narrative, from there on, becomes increasingly monotonous, sluggish, and diffuse. Jack Lemmon, Sissy Spacek, and John Shea. (1982) — Duncan Shepherd
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