From the opening scene of "Redbelt," it's clear we're in the graces of a truly gifted writer. Whereas most films hinge upon big events to jumpstart the story, writer/director David Mamet ("Homicide") cranks up the intimacy. Small, seemingly disconnected anecdotes - a broken window, a pawned watch, a bar fight - gradually fit together like pieces of a puzzle, pulling the viewer deeper and deeper into the story of Mike Terry (Chiwetel Ejiofor, "Dirty Pretty Things"), a Brazilian Jiu Jitsu trainer who becomes immersed in the corruption of Hollywood and corporate business. It's an absorbing film, one that refuses to pander to its audience by revealing its secrets too early. But it makes a simple, albeit significant, mistake, one that threatens to negate the power of its overall message.

Terry, a former soldier and renowned mixed martial arts specialist, befriends hotshot actor Chet Frank (Tim Allen, "Home Improvement") after an incident in a bar. With mounting debts and a bitter wife (Alice Braga, "I Am Legend") demanding more support, Terry's happy to be taken under the wings of the rich and powerful. But as past events intertwine and people in Terry's life begin to show new shades of their personalities and motivations, he realizes he must choose not only what kind of life he wants to live, but also what kind of man he wants to be.

Thematically and structurally, "Redbelt" is a typical drama. It's the classic story of David vs. Goliath, or, for a more contemporary analysis, the idealistic, honorable underdog going up against the evil corporate empire. The film bears more than a passing resemblance to an earlier Mamet screenplay, 1982's excellent "The Verdict." Both films address the theme of maintaining one's integrity, and both feature male protagonists ultimately betrayed by their closest associates. It's a powerful, universal scenario, and it's rarely done with more subtlety and grace than it is here.

The film as a whole is a masterful exercise in sustained suspense. For much of the running time we are as much in the dark as Terry is, confounded by the events that are circling around us and growing more and more hopeless with each new turn of events. Mamet, who has always been a solid screenwriter but an erratic director, is clearly a lot more comfortable behind the camera now. "Redbelt" could very well be his crowning achievement as a director.

It's ironic, then, that the main problem with the film lies in the otherwise impeccable script. Mamet, of course, is first and foremost a writer, and he relies heavily on what is perhaps the most common of all literary indulgences: excessive symbolism. Even the supporting characters are outright symbols, like the jittery attorney (Emily Mortimer, "Match Point") who's given a chance to redeem herself by standing up to the bad guys.

Worst of all is the character of Mike Terry. Though convincingly portrayed by Ejiofor, you get the sense that he could've been played by anyone and it wouldn't have made a difference. Terry is simply too good, too righteous and one-dimensional, to really earn our sympathy. He's the ultimate hero: an intelligent, kind-hearted husband who goes out on a limb to help friends and strangers alike, and refuses to use his incredible fighting skills unless he's left with no choice. Men like this don't exist, and it lessens the overall power of the film. Any seasoned movie-watcher will know nothing bad will happen to Terry, that no matter how many awful things Mamet throws his way he'll always come out on top. To leave Terry defeated would completely unravel the central thread of the film.

For this reason alone, "Redbelt" fails to resonate after the end credits have rolled. It's a powerful viewing experience, but, as with even the best of gourmet dishes, it's forgotten almost as soon as it's finished.

Redbelt

Rating: 3 out of 5 stars

At Quality 16

Sony Pictures Classics