It opens promisingly. . . . But instead of things building from there, the energy gradually dissipates, and by the time the mystery is “solved,” it’s difficult to care very much. Polanski seems to have something in mind about American innocence and international power (the Statue of Liberty is used as a significant icon), but his usual surrealism is almost completely absent, and most of the visual motifs . . . register mainly as empty signifiers (1988).
February 01, 1988