Redbelt, the latest tome from the pen of David Mamet, contains next to none of the most worn-out fight movie cliches. You won't see such familiar scenes as  an underdog overcoming the odds to defeat some cartoonishly evil contender or that hilariously dated moment where the good guy and his rival share an "I respect you" nod after the final fight. Instead, Redbelt contributes a different slant on a fighter's story. Although not entirely successful, it's  thought-provoking enough to hold your attention long after the first punch has been thrown.

The versatile Chiwetel Ejiofor plays Mike Terry, a jiu-jitsu master with true dedication to his craft. His philosophy bars him from displaying his skills in competition, opting to use the martial arts to help others achieve an improved sense of well-being. But such a mindset hasn't helped pay the bills, and after a mishap at his training academy sends him further into dire financial straits, Mike and his wife (Alice Braga) find themselves struggling to keep their heads above water. As if by sheer happenstance, however, a run-in with silver screen tough guy Chet Frank (Tim Allen) results in a surprising turnaround in Mike's luck. He now finds his skills being called upon by Hollywood, in order to lend an air of authenticity to the combat in Chet's latest action flick. However, because this is a Mamet movie, nothing is as it seems, as Mike soon confronts Tinseltown's treacherous side, forcing him to think fast to escape a situation that threatens to compromise everything he stands for.

For me, watching a new Mamet film is like opening a Christmas present. I get downright giddy over what awaits me inside, as visions of labyrinthine plots and crisp dialogue dance through my head. The downside is that after years of receiving Mamet's cinematic treasures, I've gotten a little savvy about what their contents might be. Five minutes into Redbelt, I had a pretty good idea concerning how the rest of the flick would progress, and I was right on the money. Thus, a little bit of the fun was taken out of the experience, although there's still enough to admire here to warrant a watch.

Most of the film's appeal has to do with Mike Terry's strengths as a character. He's a man who staunchly refuses to fight for sheer sport out of respect for his beliefs. It's certainly a change of pace from the likes of the recent Never Back Down, which shamelessly glorified beating the stuffing out of people as much as possible. Mamet racks up most of his dramatic mileage by focusing on Mike's state of mind as his troubles begin to mount, forcing him into the last position he ever wants to be in.

True, there are times during Redbelt when, without spoiling anything, the story feels like it's stretching a bit. As the plot pieces start to come together, you  wonder why a certain group of characters went to so much trouble to coerce another character into doing what they wanted. Redbelt's chicanery isn't one of Mamet's most finely-crafted cons, and, strangely enough, his trademark dialogue is lacking here, replaced by a few nuggets of wisdom Mike apparently learned from the Mr. Miyagi School of Mentoring. Luckily, Mike's personal journey is more than absorbing to make up for the film's small handful of disappointments and shortcomings.

One element of Redbelt that doesn't let you down is its very handsome cast, all of whom deliver strong and steady performances. Ejiofor really nails the finer aspects of his character, and he's accompanied along the way by Emily Mortimer's turn as an unstable attorney. Mamet regular Ricky Jay is fine as a shifty fight promoter, and Allen, whose role is fairly small, will surprise those who only know him for his comedies.

Don't expect Redbelt to be a festival of flying fists and broken bones. The film wisely sidesteps any exploitative trappings in favor of a more introspective look at its subject. Redbelt's characters spend more time baring their souls than their muscles.

MY RATING: *** (out of ****)

(Released by Sony Pictures Classics and rated "R" for strong language.)