Of the many climaxes in this climax-stuffed cautionary tale, it is the clash at the Guggenheim Museum—where Salinger has trailed an assassin—that get Tykwer’s most flamboyant. It’s allegory for global anarchy and destruction. Salinger and the assassin recognize their common humanity, then their tension and obstacles escalate. This sequence is an ambitious combination of moral conflict and bravura aesthetics. Configured to match the sloping, slanting, continually changing perspectives of the Guggenheim’s rotunda, the scene attempts to out-do the visceral curlicues of Tykwer’s first hit, Run Lola Run. It visualizes Salinger’s dizzying, uphill struggle and 360-degree paranoia. Tykwer daringly intercuts video installations (actually from the Hamburger Bahnhof by Julian Rosenfeldt). As Salinger’s targets shift and danger boomerangs, capitalism itself becomes an Abstract Expressionist version of the Disasters of War. This tour de force is more accomplished than any of the set pieces in Children of Men—or Zodiac for that matter—yet it fails to drive home the sadness in Salinger’s eyes, unlike the astonishing photo-realist mural in Femme Fatale that summarized its heroine’s life journey.

Instead, as Tykwer goes on to other tricky chases and sensational killings, The International becomes more routine and shallow—even as it pretends to uncover the intricacies of small-arms trading, Middle East subterfuge, collateral damage and varieties of ethnic revenge. Although audiences chuckle when Armin Mueller-Stahl’s jaded banker explains to Salinger, “Life is stranger than fiction, fiction has to make sense,” the unfunny joke is on the way contemporary political fiction (in movies) rarely makes sense of our moral alarm. One reason lies in Tywker’s fanciful/serious approach. Though stylish, it lacks the aesthetic-moral force of such political thrillers as Francesco Rosi’s Exquisite Corpses, Peckinpah’s The Killer Elite, Spielberg’s Munich or DePalma’s Blow Out.

When we’re told that “We’re all slaves to debt” or that war comes from “banks committing so much of its resources sale of weapons” and that cynical news is matched with cleverly staged assassination scenes in anonymous crowded cities, it means that The International isn’t any better than Children of Men. Although war and financial crises are distressing, today’s moviegoing generation doesn’t know the culture shock of assassination and disillusionment that informed Rosi, Peckinpah, Spielberg and De Palma that movies like this merely exploit. Owen pantomimes feeling, but through political snark and snazzy technique, we’ve lost the beauty of art with feeling.

In the autumn of 2007, when we saw the first rush of war-related pictures like In the Valley of Elah and Rendition, writers across the land (including me) were asked by their editors to grapple with the significance and meaning of these movies. The problem was that, with the exception of Brian De Palma's passionate and disturbing Redacted, most of them were mediocre at best and gutless at worst. In terms of filmmaking, The Messenger marks a new beginning for the real work of dealing with the Iraq war mess. Moverman co-wrote Todd Haynes' extraordinary Bob Dylan un-biopic I'm Not There; he also co-wrote Ira Sachs' wry (if a bit too mannered) Married Life. Although Moverman doesn't have a particularly strong visual sense, The Messenger is still a confident and effective directorial debut, partly because Moverman has good narrative instincts, but also because he shows a graceful touch with his actors. Maybe that's no surprise with an actress like Samantha Morton, who plays a widow befriended by Foster. I've never seen Morton give a bad, or even a merely adequate, performance -- she's the only contemporary actress who can break my heart with nothing but the curve of her smile. But Foster, whom I found distressingly hammy in 3:10 to Yuma, dials it way down here: He doesn't show suffering on his face; he carries it in his bones, as if he realizes that the suffering after the fighting is the greater part of his duty. Moverman has made a tough, compassionate little picture -- with some great and necessary dashes of black humor -- that opens a new door into the world of damage, at home and everywhere, that we now need to face squarely.

In fact, The International gets most of its narrative shape not from the dialogue but from the visuals. Shot by Frank Griebe, who has frequently worked with Tykwer, the picture has a somber, elegant look. Even though it hops from one glamorous location to another (Istanbul, with its collage of sun-warmed rooftops, looks particularly resplendent) the images never have that stiff, flattened, travelogue quality. They always look like places where people work and live, and where time passes.

The International, in contrast, is so undistinguished that the moments you remember best are the ones that you wish another, more original director had tackled. In the hands of Brian De Palma, for instance, a tense showdown at the Guggenheim Museum in Manhattan might have turned into a fugue of architectural paranoia, but Tykwer is content to turn Frank Lloyd Wright's creamy spiral into a chaotic shooting gallery. Similarly, a climactic foot chase through a Turkish bazaar needed the kind of breakneck precision Paul Greengrass brought to the last two "Bourne" movies. And when a cloud of bats suddenly took wing, I wished they were pigeons, and I wished for John Woo.

Not for the faint at heart, Human Zoo takes up the sociopathy of betrayal, in the context of love and war. Writer/director Rie Rasmussen also plays the main character, a woman of mixed Serbian-Albanian parentage narrowly saved from rape or worse in 1999 Kosovo by a man who is, aside from a quirky feminist streak, strictly psychopathic. During her subsequent time with him in the anarchic mafiadom of Belgrade, the camera returns to her wrist wounds from the war. She worries them open again and again; we see quiet drops of blood, richly red, artistic, fall onto an etched glass bowl in one scene, contrasting with some of the more effective portrayals of violence I've seen in recent years in the cinema. We observe the betrayal of nearly every norm of decent society as Rasmussen rages at this world of ours. It's a particularly female form of rage, and I, for one, think it's about time the world take note.

Rasmussen holds the screen credibly but while Corey is a hunk and gets to frolic with Rasmussen in some very explicit sex play, he's a lightweight compared to [Nikola] Djuricko, and the stilted English dialogue leaves even the wonderful [Hiam] Abbas (The Visitor) stranded.

Cue Rie Rasmussen, who strode on stage. No messing with her. She and Corey traded insults directed at Luc Besson, who is credited as producer but apparently hated the picture. She also said the story had personal resonance, in terms of the immigration and trafficking theme (a sub-plot of the film), as her adopted sister's mother had been trafficked to Russia.

Extraordinary stuff, but it was cut short to make room for the next screening. Corey repaired outside and continued slagging off Besson and bigging up Rasmussen, who mortgaged her house to make the film. Then she held court. I was quite interested to hear her views on the reversal of gender roles in the film, with Adria taking an all-action stance while Shawn is a support. Once she started talking about women's natural function being reproduction, I rather lost interest--biological determinism is so 20th century.

Rasmussen's script feels arbitrary, under-developed and shaky; the dialogue is, at best, declamatory. DoP Thierry Arbogast lets himself go at times with an orgy of kinky angles interspersed with long, languorous shots. Overall, it suggests a limited budget. The performances are equally skimpy. Rasmussen expresses distress by posing in a smouldering stance and mustering up a sexy pout while Nick Corey seems bemused by the thinly-sketched character he has to play. Nikola Djuricko, however, appears to thoroughly enjoy himself as the brutish Srdjan.

The director, who also played Adria, has very strong views on gender roles and I think somewhere in this picture is a comment on violence and strength but I found the ending a huge copout.

It reminded me of the end of Brian De Palma's Redacted and the film's near-decision to commit the exact same manipulation. But Redacted is a smarter film. I'm not sure whether it is important to credit Magnolia with this and believe the Hi Mom!-esque controversy over their decision to redact De Palma's images, or whether you should credit De Palma and see the controversy as a scripted "Be Black, Baby" stunt meant to emphasize the film's satire over its politics. The impact of the film's ending carries the same treasure trove of meaning either way. The redaction of the "dead baby" images are the final punchline to Redacted, for it says that even De Palma's film can not exist without some form of censorship. And like the youtube clips that run throughout the film, Redacted's finale is yet another jab at the empty means and empty language with which some people express their politics.

Actually, it's final punchline is Ari Folman's Waltz with Bashir, a film Redacted prophetically satirized more than a year in advance.