Simon Curtis’s film is often bathetic, but its most glaring faults lie in its extreme structural imbalance.
Director Gavin Hood treats the aesthetics of high-tech surveillance as the opaque membrane through which the prosecution of the War on Terror must pass.
Even under blue skies, the windswept fields and beaches of southern Sweden appear bleak and hopeless in the second season of Wallander.
Constant Gardener is rather turgid and misguided for something that’s supposed to inspire self-righteous anger.