Arriving immediately after the release of "The Bricklayer," which starred Aaron Eckhart as a former CIA agent, "The Painter" introduces Charlie Weber as another ex-CIA operative who has taken a different path, as you can probably guess. This action-packed film, although modest in scale, thrusts its resilient protagonist back into the world of covert operations amidst a storm of bullets and conspiracy. Weber portrays Peter Barrett, a CIA dropout turned artist who leads a solitary life in the Pacific Northwest following a tragic incident that caused his wife Elena, Rryla McIntosh, to leave him. Seventeen years later, living under an assumed identity, Peter is unwillingly forced back into action when teenager Sophia, Madison Bailey, claims to be their daughter, a revelation that perplexes him. Before he can unravel this enigma, his rural home is invaded by heavily armed agents with orders to eliminate him. Relying on his lethal training, Peter dispatches the intruders and escapes with his alleged daughter. They later learn from Peter's former mentor, Henry Byrne, Voight, that a ruthless Section Chief named Naomi Piasecki, portrayed by Marie Avgeropoulos, is responsible for the attack. With the help of Agent Kim, played by Luisa D'Oliveira, she relentlessly pursues the fugitive duo, while a young psychopath named "Ghost" joins the pursuit. As the story unfolds, it becomes evident that the conspiracy revolves around a highly classified black ops operation called Project Internship, which connects all the characters. The sinister plot revolves around kidnapped children who are brainwashed to become skilled assassins, reminiscent of paranoid fantasies like "The Boys From Brazil" and "The Manchurian Candidate." However, "The Painter" lacks the imaginative spark of those films, feeling more like a standard shoot-'em-up with contrived revelations through dialogue. The film reaches its climax with a series of unexpected turns accompanied by black-and-white flashbacks. While director Smith maintains a fast pace, there is a lack of stylistic finesse to divert attention from the implausible aspects of the narrative, occasional clumsy dialogue, and formulaic elements.
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