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Do we even need to describe the characters George Clooney plays anymore? The suave leading man has almost become a genre in himself: the dashing, loner gentleman who lives on the edge, likes his women and wine, and possesses an essentially good heart. In Michael Clayton this Clooney was an identity-less lawyer/agent. In Syriana , he is a CIA operative alone in the field. Even in Up in the Air , Clooney, despite his good humor, is more or less the same isolated, interesting guy. In The American , Clooney is Jack, or Edward, or Mr. Butterfly, depending on how each character knows the anonymous assassin who receives mysterious, well-paying gigs from the gruff, grey haired Pavel (Johan Leysen). He is, again, a loner, a womanizer, a charmer, and an essentially good man, despite his bad deeds. And, again, Clooney is damn good at playing his character, as if we haven’t come to expect that.

The American introduces us to this latest Clooney manifestation in Sweden, where he is lounging next to a fire with the naked Ingrid (Irina Bjorklund). Moments later, two mysterious Swedish assassins are dead in the snow along with Ingrid, and Clooney is rushing to Rome to find out what happened. We never quite find out all the details about Jack’s situation. He is a hired gun who has been living underground for years and his handlers expect him to remain disconnected from the world ” no friends or lovers. Not surprisingly, this appears to have had its effect on Jack, whose eyes tell us his soul is in crisis, worn down from years of amoral isolation. Nonetheless, he sets about building a fancy rifle for a sexy assassin client (Thekla Reuten) while residing in an out of the way town in the mountains of Abruzzo.

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Besides his romps with the prostitute Clara (Violante Placido) and strolls with the local priest he befriends, Father Benedetto (Paolo Bonacelli), Jack’s life in exile is largely uneventful. A few bad guys eventually catch up with him, leading to some brief, lackluster chase sequences through the back streets of the village. But the real focus here is Jack at work. We watch him gather the pieces for the weapon and carefully construct the parts. “You have the hands of a craftsman, not an artist,” Benedetto tells Jack. We might add the heart of a craftsman too; in the process of his work, Jack appears content.

On a level, director Anton Corbijn ( Control ) ought to be commended for his restraint and patience in his adaptation of Martin Booth’s novel A Very Private Gentleman . The American is a rare thriller that doesn’t feel

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