This is the sort of bare-bones story that well served plenty of World War II movies once, and it would work here, if Berg had the sense to develop these men as characters, first. But we don’t really get to know any of them, or what they might bring personally to this life-or-death emergency.

What are their own skills, weaknesses, fears? They never become much more than four very tough men, and as wrenching as the firefight is — and Berg seems to take particular pleasure in throwing his heroes off every mountain he can find – it never becomes personal.

We shouldn’t only care about these people because they’re Americans. We should care because we know them. And while Taylor Kitsch yet again serves merely as handsome set direction, and Emile Hirsch and Ben Foster only give flashes of their usual energy, Mark Wahlberg — who is the only movie star here — does what movie stars do: He takes a part, which barely exists on the page, and somehow slips it on like a glove.

t appears the killer is on a very literal witch-hunt, rampaging through Whitechapel’s elderly population, or at least those who seem to be connected to the infamous poison-tipped umbrella murder of real-life Bulgarian defector Georgi Markov. The combination of espionage and witchcraft works particularly well as both deal with individuals supposedly working to undermine a community whilst hiding in plain sight.

However, the inclusion of the MI6 agent feels rather forced. Her every appearance is accompanied by a musical score that doesn’t know whether it wants to be jovial or menacing, much like the MI6 agent herself. It may be that this jarring effect was fully intentional, but it seems an odd decision given the way in which the rest of the episode is remarkable for the meticulous way in which it keeps the tension ramped up.

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