THE SIEGE

THE SIEGE has an intriguing question at its center: what happens when terrorism turns a major American city into an armed camp? It also raises the conflict between protecting citizens and protecting their rights. Those ideas give the film some worthwhile material.

But the movie’s politics and character motivations are often murky. The CIA agent and the general take actions that are difficult to understand politically or psychologically, while the thriller’s action becomes familiar, predictable, and strangely uninvolving. The overall moral worldview keeps the film from a worse rating, but it offers no solid theological or moral content that makes this a must-see.

The R-rated material is also substantial, including violence, sex, and strong foul language. Watch it at home, if at all, and only as an adults-only choice.

After a mysterious group stages terrorist bombings in New York City, Anthony Hubbard, head of the FBI/NYPD Terrorism Task Force, investigates. He works with Elise Kraft, a CIA operative whose sources in the Arab-American community give her unusual access to the case.

As the attacks escalate, the President declares martial law in New York’s Arab section. General William Devereaux uses harsh measures while Hubbard and Kraft pursue the bombers and try to stop the general’s secretive plans.

Three stars means a reasonably exciting thriller with interesting moments, but one that falls short of its potential. The premise raises timely questions about terrorism, government power, constitutional rights, and the treatment of Arab-Americans.

The action sequences are familiar and predictable. The climax relies on a typical shoot-out, and the final conflict between Washington’s and Willis’s characters lacks originality. The acting is good, with some interesting exchanges involving Denzel Washington, Annette Benning, Bruce Willis, and Tony Shalhoub, but the performances are not exceptional. The tension also feels artificial because the major characters’ motives remain unclear.

THE SIEGE presents a mildly moral worldview with pagan elements. Two characters recite the Lord’s Prayer while one is dying, but the movie does not develop a solid theological or moral vision around that moment. Its moral center is also weakened by terrorists who misuse God’s Name while seeking revenge and murdering innocent civilians.

The film is sympathetic to the Arab-American community in New York as a whole, even while portraying a small group of Muslim terrorists. Its political outlook ranges from blandly conservative to mildly liberal, and its use of a U.S. military general who employs violence for a conspiratorial goal creates an anti-military impression. The movie’s treatment of constitutional rights and government power is presented as a new crisis, although the review finds that premise politically naïve and artificial.

The film asks when protection of a country’s citizens conflicts with protection of their rights. Scripture recognizes the importance of justice and truthful judgment: “You shall not pervert justice. You shall not show partiality” (Deuteronomy 16:19).

THE SIEGE raises serious questions but answers them with artificial politics, unclear motives, predictable action, and troubling content. Adults who remain interested should wait for home viewing, not choose it for children or young teens. Our answer is WAIT FOR HOME — ADULTS ONLY. For a cleaner option, see.