Luis Tosar is a ‘plumber’ in the sewers of the State in a film that bets on technological intrigue to the detriment of action
Luis Tosar is always good, and ‘Emperor Code’ is no exception. Jorge Guerricaechevarría’s script dwells on portraying this agent of a shady State security body, who demonstrates in the first minutes of the film that he is very good at what he does. We discover a bold and clever guy, a ‘plumber’ from the sewers of power who is given missions that are not made in the news afterwards. If you have to spy on a politician or get dirty laundry out of him, there is our man who, as the canons of the genre dictate, has a disastrous family life.
Clichés have also taught us that these efficient and cold spies, through love, always end up questioning their way of life and their convictions. In the case of Tosar’s character, his world is turned upside down when he becomes intimate with a Filipino émigré employed in the mansion of a couple who run arms (Alexandra Masangkay). A journalist hungry for exclusives (María Botto), a politician who sells honesty but who likes too much flirting on the internet (Denis Gómez) and a soccer player who mistreats his wife but whose name and money save him from disgrace and jail (Arón Piper).
An image from ‘Emperor Code’.
‘Emperor Code’ is a correct but predictable thriller, which is not committed to action – it only contains a chase – and where an intrigue in which technology plays a crucial role prevails. We soon intuit that it is only a matter of time before our hero’s conscience prickles and scruples arise. Coira rolls with solvency and constantly jumps from stage to not bore: Madrid, Bilbao, Budapest, Panama… The character of Luis Tosar is also believable, a ‘Mr. Wolf’ specialist in solving wrongs, in preparing traps, in fabricating evidence. He always at the service of power, not justice. The plot of international terrorism with a nuclear bomb in between may be a bit big for an entertaining film, whose action does not falter but without any memorable moment.
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