xXx: Return of Xander Cage
The last forty minutes of the movie do come together in a pretty diverting way.
The title of Anthony Minghella's dour "Breaking and Entering" is a metaphor. How do we know this? Well, for one thing, there's a burglary right at the start.
And the central character himself, Will Francis (Jude Law), demonstrates a fondness for metaphors in his dialogue. He's so fond of them that he even tells us he is fond of them in a climactic speech: "I don't even know how to be honest anymore. Maybe that's why I like metaphors." Then he goes on to describe a metaphor, where a circle represents his family, but it's also an enclosure or a cage, and he wants to feel comfortable in it but sometimes he feels trapped in it and sometimes he feels excluded from it.
It figures that Will is a partner in a London architecture and landscape design firm, since geometry looms so large in his consciousness. The guiding principle of his company, Green Effects, which is engaged in building a huge development in a squalid section of King's Cross, is to promote the concept of "built landscape as art, and one that requires as much care as any structure, and as much acknowledgment of design." And there you have another metaphor for "Breaking and Entering," a geometrical art-movie exercise defined by its structure and design.
The players on Minghella's cinematic Parcheesi board are arranged as follows: Will is in a 10-year relationship with Liv (Robin Wright Penn), the Swedish-American mother of a 13-year-old girl, Bea (Poppy Rogers), a gymnast with borderline-autistic behavioral disorders. On the opposing side is Amira (Juliette Binoche), a Bosnian Muslim widow and refugee who lives in a housing project with her difficult 15-year-old son, Miro (Rafi Gavron), who is also a gymnast of sorts. Miro uses his gravity-defying parkour skills to climb and break into buildings to steal electronic equipment for his Serbian uncle's burglary operation. To use a metaphor, these two mothers and children are opposing mirrored reflections of each other: blond/brunet, Swedish/Bosnian, upper-class/ working-class, girl/boy ... and Will finds himself caught between them. The symmetry is almost perfect. Which is in part why it all feels so planned, more like an architectural blueprint than a movie.