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I’ve pretty much always enjoyed watching Penn in everything, not despite of his hambone tendency to milk every moment of every shot but because of it. This stupid movie is no exception, and in the intervals between killings and explosions, Penn brings such carved-stone gravity and depth of sadness to Jim that you almost believe his penitent-Christ shtick will atone for all the greed of capitalism and all the crimes of imperialism. As far as I’m concerned, Penn’s erratic personal life, political grandstanding and undisguised loathing of the media come with the package; he’s one of the last people left in Hollywood who embraces the full Brando tradition of stardom as a job that demands endless egotism and blatant obnoxiousness, and who can back it up with actual talent.
It may frame this bizarre, inexcusable and occasionally delicious spectacle somewhat more clearly to observe that “The Gunman” is adapted from a 1981 novel by the legendary French crime writer Jean-Patrick Manchette, a onetime ‘60s leftist shaped by existentialism and the noir aesthetic. I’ve never read the book, but I’d be willing to bet that the aura of dated machismo is imported intact but that screenwriters Don MacPherson and Pete Travis have forcibly tried to twist a narrative of decay and decline into a conventional movie fable of heroism triumphant and order restored. The result is an unexpectedly dark and downbeat thriller that retreats from all its most mordant observations about the uses of power and violence into one of the most obviously fake happy endings ever stapled onto a motion picture. This is a movie that cannot remember that its central character suffers from brain damage and dementia. No doubt that’s a metaphor for something, but the disorder is contagious so I’m not sure what.

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Cambodian filmmaker Rithy Panh has become his nation’s cinematic poet of genocide, the Southeast Asian cognate to “Shoah” director Claude Lanzmann. With his strange and moving “The Missing Picture,” winner of the Certain Regard prize at Cannes last year, Panh blends documentary, personal memoir and eccentric artistic experiment to create a portrait of his nightmarish teen years, spent under the Khmer Rouge dictatorship that ruled Cambodia from 1975 to 1979. While younger people may know little or nothing about the Khmer Rouge and its shadowy leader, Pol Pot (described in propaganda newsreels as “Brother No. 1”), that history remains profoundly traumatic for Cambodians, and hangs over the second half of the 20th century like a brooding specter.

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Toward the end of the film, Amber declares her love for the other two women, while adding the caveat that she hopes that they never sleep with the same man again. Then the plot denouement involves everybody wildly hooking up with everyone else’s relatives. Friendship and love are intertwined and intermixed; soul mates, the film insists, are soul mates, platonic or otherwise. And it all can be traced back to the cause of this scrum of soul-mating: Mark’s infidelity. In the end, he gets punished, in a rather ― to put it delicately ― hyperbolic way. “The Other Woman” isn’t exactly a genre-buster. But this may be the movie’s boldest stroke: that a rom-com in which the man isn’t redeemed can still have a happy ending.
In the rom-com world, male infidelity often functions as a kind of plot device. It’s an unfortunate but somehow still beguiling flaw in the protagonist that gives him some psychological depth and handily prevents the perfect union from happening too early in the run-time. In films like “Boomerang,” or “The Tall Guy,” or the more recent “Playing for Keeps,” cheating on your girlfriend is just a stumbling block on the road to certain, eternal happiness.

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Whatever machinations the government’s “accountability for Petraeus” campaign takes, it is a hypocritical certainty that he will receive a significantly lighter punishment than the whistle-blowers. He already has.