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Through a chain of energizing and emotional events, this film pursues Asher, an influential man who was a Mossad agent and now he fills in as a hired killer. At some point, a procedure that he was doing turned out badly, driving him to meet a pretty lady named Sophie. Asher experiences passionate feelings for her and he is prepared to effectively progress toward becoming with her eternity regardless of whether he needs to end his terrible profession.
As obvious and rudimentary as Asher is, it's kind of forgivable when you consider that this movie is really Perlman finally getting his chance to be the sympathetic, charismatic leading man.
The simplicity in director Michael Caton-Jones' tale about a man looking to redefine his concept of right and wrong is powerful enough to carry the movie.
[director Michael] Caton-Jones's ASHER is as much a contemplative look at being aged out of life as it is recognizing that sometimes we must break out of our ruts to get more.
Even when revenge doesn't connect, the softer areas of the writing do, delivering a picture that takes some dramatic risks while still delivering moments of blunt trauma.
You can appreciate the character-driven approach of this crime drama while also wishing the titular protagonist had a more compelling movie in which to inhabit.
Dreyfuss sinks his teeth into his handful of scenes, while Bisset hits different but equally effective tones in her moments. The underrated Janssen, striking as ever, does her usual stellar work.