Shades of Steven Soderbergh and Michael Mann at their best, Across the Line: The Exodus of Charlie Wright channels its energy not through some artificial premise but from the inside out. Few films these days allow the viewer to get acquainted with an assorted bunch of characters. In particular, Aidan Quinn shows real depth playing a man with numerous regrets. He may be a thief, but at least he’s a thief with a conscience.

Ricki Maslar’s casting also brings together Mario Van Peebles, Bokeem Woodbine, Gina Gershon, Corbin Bernsen and Andy Garcia. The cast is well chosen, offering surprising insight and unusual depth. At first glance, the picture may sound familiar; however, the action set-pieces are not the primary reason to see this film. Character and situation are put under the microscope with a view towards building suspense. You begin to wonder where it’s going and who will emerge with a clean slate. It seems everyone in the picture has some sort of demon to conquer, whether literal or metaphorical.

Across the Line begins with a quote from poet Max Ehrmann about the “peace… in silence.” Then Charlie Wright (Quinn) explains in voice-over, “This is the story of failure… of my failure and how all that is good is not me.” Having stolen billions from unsuspecting clients in a Ponzi scheme (a way of defrauding investors using their own money), Charlie escapes to Tijuana, hoping to live a life of anonymity and perhaps re-establish contact with his daughter. However, he can’t stay under the radar very long, especially with everyone after him. That includes obsessive FBI agent Hobbs (Peebles), Russian mob heavy Borlec (Raymond J. Barry) and Mexican drug lord Jorge Garza (played by Andy Garcia).

Brought to the screen by writer/director R. Ellis Frazier, Across the Line challenges the audience to stick with a story in which there’s not a tremendous amount of action. Showing he’s still a major force to be reckoned with, Andy Garcia gives a splendid performance. When the credits close, you remember him as much as Quinn. Similarly, Claudia Ferri provides strong support. She plays Mary, a woman with a vital piece of information who helps Charlie on his quest. In a brief but sharp turn, Corbin Bernsen’s FBI director becomes the boss you love to hate. His treatment of the agents working under him, especially Hobbs, gives plenty of insight into his dastardly nature. Lastly, Raymond J. Barry’s ghostly, haunting presence seals the deal in grand style.

At times, composer Kim Carroll nods respectfully to the work done by Alberto Iglesias in recent years. The gentle playing and overall atmosphere add up to something elemental, almost simplistic, yet fused with a professional touch.

There are one or two shortcuts, ordinary things that defy common sense but they are not glaring enough to cause any permanent damage.

(Released by Maya Entertainment and rated "R" for some language.)