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Its beats are familiar, its outrage muted, its story diffuse.

Tahar Rahim in The Mauritanian.

And to be fair, that might have been a more exciting, more conventionally satisfying political-legal thriller.

The problem is that it still tries to muscle a legal drama in there.

(I know I did, and I sat through the film three times.)

But in consigning that tale to half-remembered glimpses, the film loses much of the emotional and narrative thread.

But again, the movie rallies mightily by the end.

The film denies us closure, because, lets face it, none of this is really over yet.

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