Half of us cannot wait to see The International, the new Clive Owen-is-grizzly-and-hot-and-so-hot-and-seriously-it’s-become-a-problem-for-us-and-we-sortof-understand-stalking oh-shit-we’re-off-track a-bank-battling-world-saver movie. But while we wait, we have our friends at Dwell to entertain us with a more, well, parent-appropriate look at the film. We’d read here and there about the Guggenheim shoot-out—filmed in a life-size replica somewhere near ja very cool Berlin—but Aaron Britt really gets into it, and explains why the baddies live in glass houses and the Clives want to kill them:

All told, this film feels like a kind of comeuppance for modern architecture, with the literal desecration of a hallowed modern edifice as a surrogate for the destruction of the headquarters of the IBBC. That the film’s final vengence comes atop the terra cotta-tiled roof of a building in Instanbul only adds to the notion that modernism istelf is a kind accomplice to the treachery of those at the bank, and only outside of it’s flourescently-lit walls can any justice be done. It’s a hoary old canard that movie villains admire Mies, but it appears to be alive and quacking.

We’re off into the darkness of the February night to find someone to go with. We’ll be reporting back. On Clive. And, fine, the buildings.

The International: Lousy film, Evil Architecture [Dwell Daily]