Gerard Butler is an actor known for his roles in action-packed, under-the-radar films. And they surprisingly rake in impressive box office returns. Amid the industry's focus on franchised intellectual property and the perceived decline of movie star appeal, Butler continues to dominate his unique sector. Kandahar is no exception.
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Between his adventures across various modes of transport in "Plane" and its upcoming sequel "Ship", Butler manages to star in Ric Roman Waugh's "Kandahar". He portrays a skilled CIA operative navigating the complexities of covert nuclear programs in the Middle East following the hasty US withdrawal from Afghanistan.
Butler's character, Tom Harris, boasting a common name as usual, is a valued CIA agent and former MI6 member. His undercover role as a telecom repairman helps the CIA locate and dismantle secret nuclear facilities in Iran. However, this commitment to his work comes at the expense of his personal life.
His estranged wife insists on his attendance at their daughter's graduation and pushes for their divorce finalization. Preparing to leave his job and focus on fatherhood, an old CIA colleague proposes one final assignment. Reluctant, Tom agrees after learning the hefty paycheck could fund his daughter's medical school tuition. The task? Cross into Afghanistan and obliterate a nuclear plant in hostile Taliban-controlled territory.
His mission derails upon entering Afghanistan, and he realizes he has minimal support. Despite his CIA superiors in the US ready to abandon him, he secures a ride to Europe on an MI6 plane leaving the next day. However, escaping enemy territory within 30 hours becomes his most significant career challenge.
These films tend to be predictable – Butler's character is, unsurprisingly, a formidable hero who overcomes odds. What sets "Kandahar" apart is its sharp script by ex-special ops agent Mitchell LaFortune. It cleverly balances action with a semblance of depth, showcasing international intelligence cooperation for an insurmountable mission.
While antagonists in such films typically lack depth, especially when depicting nonwhite "foreign" adversaries, "Kandahar" avoids stereotypical racial portrayals. Yes, the primary villains are from Afghanistan and Iran, but LaFortune presents these countries as complex and divided entities, not just a threatening monolith. His exploration of the internal division of terrorist groups on racial, gender, and strategic lines adds depth to the film.
"Kandahar" harks back to the era of 90s geopolitical thrillers inspired by Tom Clancy's works. If you have a soft spot for films like "The Hunt for Red October" or "Air Force One", "Kandahar" might be your new favorite.
