John Frankenheimer’s late-career Ronin is a strange beast. Released in 1998, you could swear it’s a lost film from the 70s. From the muted colours on everyone’s clothes, to the action scenes, it’s a movie that didn’t feel “modern” back then.

Sure, they had top of the line equipment (for the era) and tracking a cell phone is a major plot point, but take those away, and it’s a timeless whodunit. Having read the original script, I can tell this is one of the best arguments for a page-zero re-write. Sure, you can tell this is a 100% David Mamet script because of the dialogue repetition, the snappy repartee, and the all too seriousness.

Jean Reno and Robert DeNiro are a perfect pair as the amoral protagonists, who are part of a group of mercenaries from different countries hired by Deirdre (Natascha McElhone), and tasked to obtain a briefcase from a group. The contents of the briefcase are never revealed as it is a classic McGuffin. In less capable hands, this would yield a terrible mystery box story. In Frankenheimer’s realm, it’s a slow burner thriller with some impressive action parts that are peppered far apart not to overwhelm.

Not only is this a movie worthy of a rewatch, but also the soundtrack is a thing of marvel. Elia Cmiral’s mournful use of the duduk is perfect; the old ways howling on a post-Berlin Wall world. What would be of these relics, these battle hardened agents that no longer have an ideological bloc to serve? They are samurais without a master, as Michael Lonsdale perfectly explains.

You want a proper thriller? Go watch Ronin. Then follow it with Day of the Jackal (the Michael Lonsdale one, of course), for a french thriller double feature.

-Sam J. Valdés López