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In an attempt to make a lot of money, Reeves, a US diamond merchant, travels to Russia, where he sells the rare blue diamonds, the thing that makes him putting under suspect, and he receives help from Ulrau, a Russian cafe owner with whom he falls in love, but incidents come to climax when they have been caught during the crossfire after failing the deal.
Siberia is as flat and featureless as its setting, a wasteland of potential and poor decisions that fails less for the plateaus it aims for than for the heights it doesn't.
Slow but intelligent, moody, and mature, this thriller isn't exactly thrilling, yet it's hypnotic in the way it zooms in on little messy, unexpected human behaviors.
It can never decide what kind of film it wants to be, drifting into drab formlessness when it needs to find moments of poetry, and reverting to dull clichés when it wants to indulge its thriller instincts...
Siberia has its moments, especially in the performances of its leads Ana Ularu and Keanu Reeves, but the film is ultimately a confounding mess of genres and tones.
While "Siberia" has designs on combining thriller elements with a serious romantic drama about love, commitment and masculine codes of honor, it doesn't work out that way.
Director Matthew Ross does the near-impossible in Siberia: He turns a Keanu Reeves vehicle about sex, diamonds and the Russian mob into a dreary, endless slog.
The scenes between Reeves and Ularu are the film's best and, with its enigmatically appealing stars, Siberia might have worked better as an offbeat love story rather than a thriller.