Playwright/filmmaker David Mamet is fond of his actors shouting out loud right in ones face.  In REDBELT as in many of Mamet’s other works, subtlety is thrown to the dogs.  In one scene, the policeman’s widow screams at the protagonist: “Who will be paying these bills?” Not only Mamet have the actress raise her voice and practically attacking Mike Terry (Chewitel Ejiofor), but she has a wad of bills in her hand which she waves right at Mike’s face. 

REDBELT takes Mamet’s fans into a different territory.  Set in the Brazilian jiu-jitsu world of fighter Mike Terry (Ejiofor), the story concerns his too honourable life, heightened by his belief in the samurai code.  This leads to financial disaster and his Brazilian wife (Alice Braga) betraying him.  Mamet clearly is blind to the grey area of arguments.  Like in the real estate world of GLENGARRY GLEN ROSS, the audience is ‘treated’ to the dirty world of fighter promotions and money-making.

Mamet is apt in his camera work – observant from the film’s early fight scenes.  He creates a tense world, depicted in a tense film almost devoid of humour.  No one ever has any fun in a Mamet movie.

The best of the Mamet’s films are those based on stories he did not originate – THE WINSLOW BOY and HOUSE OF GAMES being my favourites.  But REDBELT is just too much with too many coincidences, conveniently tied ends and overwrought drama that add to the film’s incredibility.  Leaving the cinema, one feels as if one has just been martial-arts kicked in the head.