Target Number One

Victor Malarek [Josh Hartnett] is a relentless Globe and Mail journalist whose curiosity is piqued by a seemingly unlikely case: Daniel Léger [Antoine Olivier Pilon], a 25-year-old heroin addict, has been arrested in Thailand and could face the death penalty. Set against the backdrop of cross-border law enforcement, the 1989 story follows a man who seems ordinary on the surface and a case that could shake up Canada’s view of its own drug war.

Malarek is a reporter under pressure. His editor, Art [J.C. MacKenzie], is pushing him toward safer, weekly feature work, yet the stubborn journalist can’t shake off Léger’s name or the murky details that bubble up from Canadian authorities who flag this arrest as suspicious. The film makes clear that Malarek’s professional fate—his job, his reputation, even his personal life—hangs in the balance as he weighs a risky pursuit that could redefine how justice is pursued across borders. As the story unfolds, Malarek’s investigations lead him to interview Thai officials and Léger himself, offering viewers a front-row seat to the tension between a journalist’s duty and institutional systems that may be more eager to claim a sensational victory than to reveal the truth.

The other half of the narrative centers on Daniel Léger, whose life seems to be spiraling into a dangerous scheme engineered by Glen Picker [Jim Gaffigan], a drug dealer who takes advantage of Léger’s vulnerabilities. Léger is depicted as someone who has wandered into a world of crime almost by accident, a pawn in Picker’s larger plan to smuggle heroin into Canada. Picker’s confidence in Léger is part manipulation, part calculation, as he convinces Léger that he can be a key organizer in a major shipment. The film treats Léger with a sense of pity and caution, showing how a young man with addiction and little power becomes entangled in schemes that threaten his life.

At the heart of the investigation is Detective Cooper [Stephen McHattie], a capable officer whose enthusiasm for a dramatic drug bust blinds him to the risks and miscommunications that accumulate around Léger’s case. The narrative pays close attention to the fractures within the operation: jurisdictional confusion, mistaken identities, and a plan that seems to hinge on everyone believing in a cover story rather than in verifiable facts. Cooper’s approach—and the consequences of that approach—become a central thread as the air of inevitability around a big seizure begins to crack.

A parallel thread follows the consequences of these choices when tragedy strikes. In a chaotic moment during the undercover operation, Cooper’s actions lead to a fatal shot aimed at a different target, Al Cooper [Cory Lipman], the son of Cooper himself. The film does not shy away from the brutal honesty of the error; instead, it anchors the emotional weight of the case to this reckless turn of events. The drug suppliers are seized, Léger is captured, and a Thai prison becomes the new stage for a story that began in a newsroom and a police file in Canada.

Back in Bangkok, Malarek sits with Léger and pieces together the truth behind the charges, the forged or flawed narratives, and the miscommunications that have shaped the case from the start. Malarek presses Léger to consider pleading guilty, a suggestion that Léger struggles to understand in the dense, unfamiliar proceedings of a foreign courtroom. When the trial begins, Léger fights to tell his side of the story, but the system speaks in a language that is opaque to him. The verdict lands: a conviction, a 100-year sentence, and a life sentence in a legal arena where distance from Canada only amplifies the sense of alienation from justice.

The Canadian story doesn’t end with a verdict. Back home, Malarek’s life unravels under the strain of the investigation: he loses his job, and his wife leaves him amid the public scrutiny and professional fallout. Yet a glimmer of hope persists when an ethics review panel begins to examine Léger’s case, hinting at a possibility that the truth might still be uncovered or corrected. Even as the newsroom drama and personal turmoil unfold, the film emphasizes the slow, stubborn progress of truth-seeking—an ethic that refuses to be silenced by a single sensational outcome.

Eight years pass, and Daniel Léger’s journey takes a hopeful turn. He is released from the Thai prison, having confronted his addiction and educated himself about the Thai legal system. With a quiet determination, he secures a prison transfer and builds a life that, while altered, has room for growth and resilience. The moment is poignant when Malarek—now waiting at the airport—meets Léger again, learning that both of Léger’s parents have passed, yet witnessing a quiet dignity in Léger’s continued Buddhist practice and his renewed sense of purpose.

The film’s closing chapters reflect a complex reckoning for the people involved. Cooper and his fellow officers receive commendations, yet the investigation into their handling of Léger’s case remains watered down, signaling how difficult it can be to untangle accountability in high-stakes operations. Malarek, meanwhile, returns to investigative journalism with renewed resolve, a testament to how a journalist’s persistence can persevere even when careers and personal lives are strained beyond recognition. The final arc emphasizes a world where truth, resilience, and the possibility of redemption coexist with the imperfect, sometimes troubling actions of those who chase justice across continents.

In the end, the story threads together two men whose lives intersect in a global web of ambition, error, and hope. Victor Malarek [Josh Hartnett] pursues the truth across borders, while Daniel Léger [Antoine Olivier Pilon] navigates a tenuous path from addiction and fear to learning and reinvention. The film treats both figures with a careful, humane gaze, showing how truth-telling, accountability, and personal transformation can emerge even from a case that began with a dangerous misunderstanding and a chain of improbable events.

Last Updated: October 14, 2025 at 04:07