Syriana

Syriana is Traffic with oil. Written and directed by Steven Gaghan, who penned Traffic's Oscar-winning screenplay, Syriana again takes on a timely political issue. This time, instead of drugs, it's America's hawkish tendencies. Both films use the device of concurrent plotlines that are related but never neatly connected. Well-written and well-researched, Syriana faces the new and sometimes unrealized challenge of turning an incredibly complex issue into a cohesive and compelling narrative.

The film opens with George Clooney (who famously gained 30 pounds but quickly transcends the gimmick) as Bob Barnes, a CIA operative who discovers that all is not as it seems within the agency. Barnes becomes the film's most fully developed character, not to mention the subject of a painfully shocking torture scene.

Back in D.C., the government is concerned with another matter-the proposed merger of two oil companies, though this subplot quickly involves too many parties to make much sense.

The film's most relatable storyline surrounds Bryan Woodman (Matt Damon), an energy analyst who must choose between his family and his career when offered a multimillion-dollar deal from Prince Nasir, the ruler of [insert name of any wealthy, oil-producing Gulf country here]. A thousand steps down the corporate ladder, another subplot takes a refreshing but unfortunately intellectually disengaged look at a group of unemployed Arab oil field workers who are slowly being drawn into fundamentalist philosophy.

Syriana's cast is outstanding: in addition to Clooney and Damon, the film features supporting performances from such notable actors as Chris Cooper, Christopher Plummer and Jeffrey Wright. Yet, the star of the film is the oil itself; oil and the quest to control it provide the impetus for all of the action.

Syriana is not escapist fare-Gaghan obviously has a point of view, but it is not overbearing. What is so effective and appealing about Syriana is that the viewer leaves the theater questioning, yes, the plot, but also U.S. policy without dwelling on partisan directives. If the films rails against anything, it is corruption, and that's something that crosses all party lines.