Infused with ample Mamet-esque style, "Spartan" is a blend of classic 1970’s political thriller ala "Three Days of the Condor" and the characteristic twists the director is known for. The latter is evidenced by the clipped, theatrical dialog as in references to "the girl", "the professor", "the boyfriend", as well as a distinctive structure we’ve come to expect from director David Mamet, who also wrote the screenplay. The story involves the disappearance, or abduction, or death, of the daughter of a very, very highly placed United States government figure in the midst of an election campaign. Setting the tone of just how tough the players are, the opening sequence is of hardened and unflappable army officer Robert Scott (Val Kilmer of Wonderland) putting the finishing touches on the training of some recruits who just may make the cut. Although their rigors are largely off-screen, it’s clear that a capacity for no less than dueling to the death is the required commitment. Mamet uses a repeated theme of relentless Spartan training as well as fables about ancient kings and their daughters. Again, in his distinctive style, he places clues that we can see, sometimes too obviously, signally what may be coming.

Scott is summoned to add his well-respected expertise to the investigation in the brief window of time "before the press wakes up" to the story and damage control will be more difficult. He’s chosen precisely because he is known to follow orders, and to be smart about it, in that order. He’s assisted in his mission by rookies Curtis (Derek Luke of (Pieces of April) and Jackie (Tia Texada of Phone Booth). When the investigation leads to a cabal of overseas slave trade for young, blond, American women, the story gets a bit labored, but comes together in the end, leaving some large global issues to ponder in the balance.

(State & Main) is an ominous and enigmatic presence in the operation. We find out just how ominous at the sinister finish.