And yet, it’s possible to see the outline of another movie, probably the one Schrader and his stars intended, a portrait of a self-destructive loner whose emptiness is linked, in some inextricable way, to the mechanics of the War On Terror. The blank gray offices at Langley, the anonymous stairwells and airports, the wide-angle shots of impeccably clean hotel rooms—so much of the movie’s visual language suggests an emptiness begging to be filled. Read more.