Forget McQueen, Dunaway and sexy chess, the remake's much much better. First, Brosnan is more believable in a suit than McQueen; beneath his usual suave restraint, the Irishman capably suggests the inner turmoil of a self-made billionaire who has everything - and nothing. Yes, he can allow himself a certain smile after snaffling a priceless Monet from a New York museum, but what really perks up his attention is Russo as the insurance company's maverick investigator, who intuitively pegs him as the likely perp. Their relationship starts out cagily, before it becomes apparent that they make an exquisite match. But can they really trust one another enough not to let a stolen Monet come between them? Along the way, there's a deft robbery sequence, a sexy awayday in Martinique, and, that rarity in big budget thrillers, a plot pushed along by the conflicting emotions of the characters. Brosnan and Russo positively leap on the chance to behave like grown-ups, excited by and wary of each other's intelligence. Plaudits too for Leary (heroic as the NY detective), Tom Priestley's luscious camerawork, effective ethnic percussion on the soundtrack, and direction by McTiernan which combines precision technique with unexpected lyricism. First rate popular entertainment.