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I am sure that I am not the only movie-goer who is sick to death clumsy thrillers that are trying to hide a dumb and dumber stations characters with a series of incredible twists. Major is the last such picture, and it was not any better than his recent predecessors. The film tries to suggest a surprise to all corners, but by playing on “the fact that it is least likely to happen” game, the viewer can understand almost every plot contortion before its revelation. This leads Major meet as cheesy, it is unsatisfying experience.

It pains me to mention Rashomon, in the same sentence as Basic, but I am going to do this because director John McTiernan and screenwriter James Vanderbilt obliged to Kurosawa classics. One of the key series of events depicted in flashback, but instead of shown objectively, they are presented from different angles. Some - perhaps all - of the narrators are unreliable, so we are not sure what is real and what is not. The problem is that we do not like. The film is so superficially that once the mystery was unraveled, all we are doing is shrug and walk to the theater, a bit irritated at the waste of time and money. (It should be noted that the main theme of ambiguity is the Rashomon “truth.” And the word as much as the “ambiguity” will probably never crossed the mind of the main writer.)

Tom Hardy (John Travolta) is a DEA agent, whose reputation has been sullied allegations that he had taken a bribe. While hanging in Panama pending storm clouds around to disperse, he asked help an old friend, Pete Wilmer (Timothy Daly), who works at the local army base. It seems that during the Rangers exercises, a number of people have disappeared, including their commander, Sgt. West (Samuel L. Jackson). They feared dead. The two survivors, Dunbar (Brian Van Holt) and Kendall (Giovanni Ribisi) should be questioned, but on the basis of official inquisitor, Lt. Julia Osborne (Connie Nielsen), is not receiving any answers. So Tom, the ex-Ranger who served in the West and has a reputation to get even the least reluctant to talk to soldiers, is brought in to find out what happened in the dark, rainy jungle of Panama. Unsurprisingly, Dunbar and Kendall in history do not match. Therefore, other obtaining funds for the truth should be used.

For a while, the main concern is keeping the viewer, but there comes a time where you realize that the film exists only to play games with her audience, and the screenwriting is not smart to do so as it should. The more confusing things have become, the more our interest wanes. This is what happens when characters are poorly developed and the plot does not move forward, but not in the interests incredible.

The Acting equally uninspired. Samuel L. Jackson is entertaining, but he basically plays the same badass he often plays. He rants, shouts, and spews profanity, but there’s nothing new or interesting about Sgt. West. Lou Gossett Jr. and R. Lee Ermy essayed have the same role, and much better. Meanwhile, Jackson’s partner Pulp Fiction, John Travolta, spends most of the film acting smug and self-confidence. (This is not quite the reunification, the two are hardly ever together on the screen.) he finally, romantically linked with Connie Nielsen (Gladiator), which indicate the histrionics McTiernan is its view of the high camp. The more serious stage, the worse it is. Then there is Giovanni Ribisi, whose seemingly endless stream of annoying performances does not end here.

For McTiernan, it is unlikely that the principal will reverse the free fall in his career. Director, once revered and respected for taking the top notches thriller with unproven film actor (Bruce Willis in Die Hard), has been toiling to a standstill productions, as Rollerball Basic. For those who do not pay attention, and who enjoy the absurd-thriller plot, as many twists and shooting scenes in the rain, the main place of work. Everything else will find this film will be mostly tiresome and completely forgettable.

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