THE MAURITANIAN

Directing: B-
Acting: B+
Writing: B-
Cinematography: B
Editing: B-

The Mauritanian has the potential to enrage, for all the right reasons, and for some reason it refuses to go the distance, unfolding with a kind of caution that seems designed to placate viewers who might otherwise think it goes “too far.” And who needs that kind of blandness? There’s a lot of talent at play here, particularly onscreen, and somehow director Kevin Macdonald turns it into something that might be moderately impressive for a standard cable original movie, but falls short of meeting the standards of cinema.

Oh sure, I’m being a bit of a film snob about this. That doesn’t change how much better this movie could have been, yet doesn’t bother to be. It’s the true story of Mohamedou Ould Salahi, a Mauritanian man who was detained in his home country on suspicion of involvement in the 9/11 terrorist plots, and then held at Guantanamo Bay without charge for 14 years.

And this man’s story should infuriate anyone who claims to hold what are supposedly American ideals. Part of my disappointment with The Mauritanian is how little it actually leans into the outrageousness of his treatment—and, by extension, the treatment of countless other detainees in that facility. This film leans hard on this injustice, and offers a window into the unbelievable inhumanity of it. But, offering a window also counts as holding back, lest it make viewers too uncomfortable. I’m not saying a movie like this should subject us to overlong sequences of explicit torture, but it certainly shouldn’t coddle its audience with kid gloves either.

I spent most of my time watching this movie thinking one of two things. First, the dialogue and plotting are trite and contrived enough to be borderline insulting to its subjects, especially given the story it’s telling. Second, the horrors it touches on are widely known to be the tip of the iceberg, eliciting flashbacks to the fury unleashed by the George W. Bush administration. These are the things conveniently forgotten by those who blithely said “Bush doesn’t seem so bad now” after a Trump presidency. Specifically military policies under Bush were every bit as horrible as the worst things perpetrated by those working for Trump. And, by the way: it should not be ignored that Mohamedou was kept detained for another seven years after he won his case, thanks to appeal by the Obama administration.

The Mauritanian barely touches on these things, opting instead to focus on Mohamedou’s legal defense and telling one man’s story. That’s a respectable enough approach, when the movie isn’t too scared of truly challenging its viewers. The very subject here is challenging, so why be so tentative about getting to the heart of the matter?

If anything elevates The Mauritanian, it’s the performances. Tahar Rahim is excellent in the title role, making it almost possible to ignore the transparently formulaic nature of his lines. Jodie Foster is a welcome presence as his activist lawyer Nancy Hollander (also a real person); Benedict Cumberbatch is impressively Southern as prosecutor Stuart Couch; and Shailene Woodley is honestly somewhat wasted as Hollander’s assistant on the case. But, Rahim is easily the best thing in this movie, indicating a capacity for joy and passion even in the face of nearly hopeless circumstances—that being one thing the film has not contrived, as evidenced by footage of the real Mohamedou during the end credits.

I just wish the movie overall had more guts. It’s a strange irony for a movie whose characters are profiles in courage to have virtually none of its own. Mohamedou Ould Slahi published a best-selling memoir about his time at Guantanamo Bay, and there is little doubt that his own account was far more memorable to its audience than this movie could ever hope to be.

Get ready for moderate disappointment.

Overall: B-