Spooks – The Greater Good: Silver Screen Adaptation of British Show Lacks Edge
Elyes GabelJennifer Ehle...
Action & AdventureThriller
In 1 Cinema
Spooks: The Greater Good, the big-screen treatment of the long-running BBC television series, comes almost four years after the show’s exit from the small-screen. Known for its devastating twists, fans of the original show will be pleased with Bharat Nalluri’s commendable effort, although those who aren't familiar with it, might feel a little lost in the process and even a little underwhelmed with the end-result.
The adaptation sees Peter Firth reprise his role as the unflinching and emotionless MI5 chief, Sir. Harry Pearce, and the film opens with a long opening credits sequence showing Pearce taking the heat for the escape of a Middle Eastern Terrorist, Adem Qasim (Gabel) during a botched prison transfer from MI5 to the CIA. Taking full responsibility for the escape, he is soon forced to resign from service and, as a result, fakes his own suicide and goes rogue, which triggers an investigation. The man given the find out what happened to Harry is – dramatic pause – his former protégé, Will Holloway, ably played by Game of Thrones hunk, Kit Harrington.
Written by Jonathan Brackley and Sam Vincent, there’s a distinct sense of grittiness and realism that is often missing from similar productions across the pond in Hollywood. The tone is applied well to what is a heavy mix of traditional and modern elements of espionage films and the twists and turns are aplenty – perhaps a little too many to keep a steady track of. But the urgency behind each and every one of them can be felt throughout. Sadly, however, the film’s faults are of its own doing; produced on a relatively modest budget, it tries a little too hard to impress and it’s only when it tries to move things into the kind of grandeur and ambitious action set-pieces associated with its Hollywood peers that it falls a little short.
Firth, who has been playing the same role for the past ten years, is unsurprisingly convincing as the ex-MI5 Head of Intelligence Chief, though Harington doesn’t shake off his pretty-boy persona enough to be as affective. Visually, the film is a winner and the silvery-blue aesthetic it’s coated in perfectly communicates the murky winters of London and the aforementioned gritty tone. There’s a lot to commend in Spooks: The Greater Good, but at the end of the day it offers nothing new to the genre and it’s big-screen adaptation just needed to be more daring and step out of the confines of television.