Critic's Grade: B-

There's something very good about the manner in which director Luc Besson strays from the expected in "The Professional," which marks his first English-language crossover and his first film made in America. Whereas most directors would pour on the style and the action with nary a hint of wit, plot, or character development, Besson manages to engage our minds while at the same time giving us just enough thrills to keep things in check. Bloody, gritty, and go-for-broke, the film makes no apologies for its forthrightness in regards to its subject matter, and for that, I give it praise.

But something about the experience troubles me, something that I can't quite put my finger on. Perhaps it was my mood the evening I decided to sit down with the film, or maybe, somewhere within the recesses of my mind, I just could not shake the feeling of discomfort in watching a young pre-teen girl bearing witness to the cold-blooded killings born out of revenge, sometimes even taking part in them. I'd like to think that I'm an open-minded person when it comes to things of this nature, but there's still that lingering feeling...

The film stars longtime Besson actor Jean Reno as L?on, a New York "cleaner" (that's underground terminology for "hitman") who is a elusive as he is heartless. At least until he crosses paths with Mathilda (Natalie Portman), a twelve-year-old girl whose verse is far more advanced than her age, as are her attire and body language. In the aftermath of her family's gruesome murder at the hands of a corrupt D.E.A. agent (Gary Oldman), Mathilda is taken in by L?on, who finds that by protecting her, he has awakened something inside of himself that he has long kept hidden since his days prior to becoming a hitman.

All of this plays out against a series of revenge-type murders and killing sprees in which L?on and Mathilda conduct a silent rampage through New York to rid the city of prominent drug dealers and traffickers, with L?on using his young protege's innocent appeal as a means to bag his prey. That he would willingly allow her to take part in these goings-on seems to negate the very essence of what Besson's script is all about; when it is revealed that Mathilda has fallen in love with her protector, no matter how much of a childish infatuation it may be, there is still a high level of discomfort that arises from such scenes as that which takes place in a restaurant, where she can be seen drinking champagne as if it were nobody's business. It appears to me that L?on might show a little more discretion in such a circumstance as this.

The actors playing these two central roles, when left to themselves, do just fine with the material. Reno's subtlety and candor are a perfect compliment to the long-buried emotions of his character, while young Portman makes quite an impression for such a young actress in her first starring role. When coupled with Besson's in-your-face stylistic flourishes and his penchant for bringing something unique to the table, these forces combine to make "The Professional" a film that strives for greatness, and comes so close that you can feel the strain on the finish line.

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