American Star centers around the suspenseful idea, “What if an assassin’s final job didn’t go according to plan?”

It’s the same premise that David Fincher explored in last year’s film The Killer. However, in that film’s plot, an unsuccessful target hit forces Fincher’s contract killer to run for his life, whereas, in American Star, the target simply never shows up. Instead of endangering this film’s hitman, he is left to simply bask in the ambiance of the luxurious island he’s on and do a whole lot of nothing. While this sets itself up for a compelling and meditative neo-noir, there isn’t enough substance or compelling story under its moody surface to make American Star intriguing enough to invest in.

Read More: ‘The Killer’ Doesn’t Aim Too High, But Hits Its Darkly Comical Mark

Ian McShane plays Wilson, a mysteriously silent assassin whose weathered face and steely reserve allude to having lived a long, hard life. His excellently tailored black suit is as out-of-place as he is on the beautiful island of Fuerteventura where he’s landed. After a long trip, he heads directly to a home where he slips in unnoticed, expecting to see the face of someone he’s only viewed from a photo inside a manila envelope: that of his target, who is luckily not there, as this is Wilson’s “final job” and all. Unexpectedly, a younger woman suddenly slips into the house and takes a dip in the pool. After clocking her and assessing the situation, Wilson slips away back to his resort.

Now faced with the question of whether to leave or take in the pleasures of this idyllic island. Wilson decides to stay but without an agenda. He wanders around the island, taking in the hotel’s buffet, the beautiful white-sanded beaches, and the local bar. And, wouldn’t you know it, Wison even recognizes the bartender as the pool-dipping woman from the target’s residence–Gloria (Nora Arnezeder), and they soon strike up a conversation and exchange contacts. Not too shortly after, Wilson’s associate (Adam Nagaitis) arrives at the island as his backup and keeps him company until the target arrives.

What does a lonely hitman with no other plans do while he waits, you might ask? In screenwriter Nacho Faerna’s story, not very much. It’s an alluring template for a story, putting a person with a complicated past in a new, unfamiliar location where they’re forced to consider their life’s decisions leading up to this moment. This premise reminds me of the masterful Sundown, in which Tim Roth goes on a vacation that he consciously decides to never return from. But where the revelations in Sundown made for a thrilling film, not much excitement happens in American Star. Director Gonzalo López-Gallego leans into the quiet, meditative neo-noir feel–complete with leveraging all of the noir-like tropes and characters–but throughout the film, I was largely waiting for something to happen.’

Read More: In Twist-Filled Drama ‘Sundown,’ Tim Roth Reveals His Shadow Self

A lot is demanded of someone to hold down a film while remaining largely this quiet, not to mention suggesting a person’s backstory in their silence. In American Star, Ian McShane does so excellently, his face alone suggesting a complicated past and long life story. It’s great to see him lead the film. However, without much story in the script, he can only hold the center for so long before his presence is just wasted. As the young woman he encounters, Nora Arnezeder is an alluring femme fatale type, however the suggested chemistry between them feels forced. When Gloria introduces Wilson to her mother (Fanny Ardant), it seems like they should have been a couple. There’s a little boy Max (Oscar Coleman) who hangs around the hotel and nags at Wilson. The character was written to show he’s a hitman with a heart, but the obviousness comes across as sappy.

The film culminates in a climactic, fate-filled end (which I won’t spoil), but by then I wasn’t very invested. The only interesting thing about the film is the offshore ghost ship that Gloria takes Wilson to, named the “American Star” (of which the film is named). It’s a big hulking warship that’s been sitting off the coast in the Atlantic for years. Wilson realizes that the ship is not much older than he is–just as it happens to sink into the ocean. While this seems to be a metaphor for his own life, it’s the only moment that truly feels unexpected, and poetic. It’s just too bad the film didn’t explore this further.

1h 47m. Rated R for language and some bloody violence.