Close Menu
    Facebook X (Twitter) Instagram
    Friday, March 6
    Facebook X (Twitter) Instagram Bluesky
    The Movie Buff
    • Home
    • About
      • Critics
      • Press & Testimonials
      • Friends of the Buff
      • Terms of Use
      • Thank You!
    • Film Reviews & Coverage
      • Movie Reviews
      • TV/Streaming Reviews
      • Film Festival Coverage
      • Interviews
    • Podcasts
    • Indie Film
      • Reviews & Articles
    • Advertise
    • Contact
      • Write for us
    The Movie Buff
    Drama

    The Jackal (R)

    Matt DeCristoBy Matt DeCristoMay 1, 2017No Comments4 Mins Read
    Facebook Twitter Pinterest LinkedIn Tumblr Email Copy Link
    Share
    Facebook Twitter Email Copy Link

    The 90s are like no other decade when it comes to Man Movies. High octane special effects, superstar actors, and plots that tote the border between thin and completely absurd are seemingly everywhere, and the 1997 film “The Jackal” fits all of of the aforementioned stereotypes – and does so in a near perfect way.

    “The Jackal” has all the right ingredients of a truly thrilling and super fun Man Movie; cool actors, violent deaths, and a great though completely implausible concept, and one we’ve seen before with movies like “The Rock” (itself a 90s throwback) in which a dangerous criminal is let out of prison to help stop and even more dangerous criminal.

    The movie opens with loud guitar rifts blasting over a hodgepodge of chaotic scenes of violence, mayhem, and pictures of Joseph Stalin. In true 90s style, there’s really no reason at all for the menacing imagery other than to showcase Russian mobster Terek (David Hayman) who is sadly only in one scene in the entire movie but thoroughly memorable as a sinister character and a great villain. “I loved this man like a brother. So I took no joy in that.” Terek says after brutally murdering one of his own men with an ax to the skull.

    The plot of the movie is hatched out in the cold and shadowy underbelly of Moscow as Terek declares a personal war on the FBI after a botched sting leaves his younger brother dead. To make a retaliatory statement, Terek hires an ambiguous and phantom like assassin known only as the Jackal, and pays him 70 million to make a public and brutal assassination.

    Bruce Willis is generally on the right side of the law with iconic characters in films like “Die Hard“, though transitions effortlessly to the role of the Jackal, a man described as ice cold, with no cause or feelings at all. One of the best aspects of the movie depict the Jackal making his way from Europe to Canada and into the United States with a host of disguises and identities, smuggling a military style weapon across the border piece by piece. Willis is perfect in playing a variety of characters as the Jackal dons wigs, fat suits, and accents along the way, with his true cold heart seeping through at various turns.

    The Jackal is opposed by Declan Mulqueen (Richard Gere) an IRA operative who is freed from his confines in federal prison to assist in the mission. Richard Gere seems an odd choice at first as the smooth talking Irishman, looking more like Calvin Klein model than an inmate as he is seen shadow boxing in his cell and sporting his trademark perfectly cropped silver hair. But as the movie progresses, Gere lives up to the part of Declan, the sole key to stopping the assassination. “He’s spent 20 years in a trade that doesn’t forgive error.” Declan advises on the Jackal. “And he’s prevailed.”

    Leading Declan and the FBI is veteran Deputy Director Carter Preston, played by the always stoic Sidney Poiter. Poiter comes across as the perfect and loyal servant to the US government. When a fellow Russian agent advises they will interrogate a captured henchman of Terek with the utmost efficiency, Carter Preston bites his lip and replies “I don’t think I want to know what that means.”

    While the top three are perfectly cast in their roles, the movie adds great secondary characters in the form of J.K. Simmons as FBI agent Timothy Witherspoon, chastised by Preston as a “by the books asshole,” Diane Venora as Russian secret agent Valentina Koslova (who advises a flirtatious Declan that her first name is Major), and Jack Black perfectly portraying a small time lowlife named Ian Lamont.

    Other 90s era themes are fluent throughout. When the story starts getting dull, senseless action scenes are added and though its only a 2:05 run time, trimming these out would make the story much more taut. A backstory between the Jackal and Declan comes across as a touch too convenient and the movie adds a useless encounter at the end.

    It is great to watch a movie in the years before cell phones and heightened border security. One great transaction occurs as the Jackal is buying his illicit weapon online and conversing with an unknown seller via a robotic and creepy computer voice. Ah, to be in 1997 again.

    “The Jackal” is all that its supposed to be; a fun and exciting movie with thrilling characters and action throughout. Its a perfect way to kick off Man Movie May and the summer movie season.

    by – Matt Christopher

    1997 Bruce Willis man movie Man Movie May Richard Gere Sidney Poitier The Jackal
    Share. Facebook Twitter Pinterest LinkedIn Tumblr Email
    Previous ArticlePhoenix Forgotten (PG-13)
    Next Article The Karate Kid (PG)
    Matt DeCristo
    • Website
    • X (Twitter)

    Matt's a writer and content creator for the site. His reviews offer insight on the art of filmmaking from the standpoint of a casual fan. Check out mattdecristo.com and follow him on Instagram and Twitter @MattDeCristo.

    Related Posts

    Drama March 4, 2026

    ‘Rosemead’ Review: A Mother and Son Stare Down the Barrel in a Tragic Eye-Opener

    Independent March 2, 2026

    The Short Film ‘Jam Boy’ by Sriram Emani is Rich with Culture and Social Commentary

    Horror March 2, 2026

    ‘Scream 7’ Review: A New Chapter as the Franchise Rewrites the Rules

    Drama March 1, 2026

    “Wuthering Heights” (2026) Review: A Preposterous Retelling, Rich in Aesthetic Yet Weightless in Text

    Action February 26, 2026

    ‘Man on Fire:’ Violent and Unforgiving, but Features Both Denzel and Fanning at their Best

    Romance February 24, 2026

    Review: Rough Sex and Rougher Relationship Dynamics Intertwine in the Risqué ‘Pillion’

    Comments are closed.

    Latest Posts

    ‘Rosemead’ Review: A Mother and Son Stare Down the Barrel in a Tragic Eye-Opener

    By Vidal DcostaMarch 4, 20260

    The Short Film ‘Jam Boy’ by Sriram Emani is Rich with Culture and Social Commentary

    By Mark ZiobroMarch 2, 20260

    ‘Scream 7’ Review: A New Chapter as the Franchise Rewrites the Rules

    By Holly MarieMarch 2, 20260

    “Wuthering Heights” (2026) Review: A Preposterous Retelling, Rich in Aesthetic Yet Weightless in Text

    By Hector GonzalezMarch 1, 20260
    • Facebook
    • Twitter
    • Instagram
    • YouTube
    Indie Film Highlights

    ‘Rosemead’ Review: A Mother and Son Stare Down the Barrel in a Tragic Eye-Opener

    By Vidal DcostaMarch 4, 20260

    “Rosemead” is based on “A dying mother’s plan: Buy a gun. Rent a hotel room.…

    The Short Film ‘Jam Boy’ by Sriram Emani is Rich with Culture and Social Commentary

    By Mark ZiobroMarch 2, 20260

    Review: Rough Sex and Rougher Relationship Dynamics Intertwine in the Risqué ‘Pillion’

    By Vidal DcostaFebruary 24, 20260

    Interview: Filmmaker Sriram Emani on Exploring Self-Erasure and Breaking Patterns in his Debut Short ‘Jam Boy’

    By Vidal DcostaFebruary 20, 20260

    Acclaimed Violinist Lara St. John Talks About ‘Dear Lara’ Doc in Post SBIFF Interview

    By Mark ZiobroFebruary 16, 20260
    Spotlight on Classic Film

    ‘The Innocents’ Review: One of the First Haunted House Films of the Modern Horror Era

    ‘Gone With the Wind’ Review: Epic Film from the Golden Age of Hollywood

    ‘The Count of Monte Cristo’ QCinema 2024 Review: A Thoughtful, If Rushed, Study of Revenge and Redemption

    ‘Thirteen Women’ Review: A Precursor of the Slasher Genre, with a Devilishly Divine Femme Fatale at its Helm

    The Movie Buff is a multimedia platform devoted to covering all forms of entertainment. From Hollywood Blockbusters to Classic Comfort faves. Broadcast Television, on-demand streaming, bingeworthy series'; We're the most versatile source.

    The Movie Buff is also the leading supporter of Indie film, covering all genres and budgets from around the globe.

    Facebook X (Twitter) Instagram YouTube LinkedIn TikTok
    Copyright @2011-2025 by The Movie Buff | Stock Photos provided by our partner Depositphotos

    Type above and press Enter to search. Press Esc to cancel.