I’ve been game to see Hossein Amimi‘s The Two Faces of January (Magnolia, 10.3) since the premiere at last February’s Berlinale, which I missed due to being in Berlin for only four days and change. I finally saw it the night before last at the Los Angeles Film Festival, and I’m definitely filing it under “reasonably decent, moderately engrossing Patricia Highsmith adaptations.” Set in 1962 Athens, Crete and Istanbul, it’s basically about two guys who reflect or echo their respective darker impulses (not unlike Highsmith’s Guy Haines and Bruno Antony in Strangers On A Train) becoming involved in a downswirl of mutual conning, killing, running from the law and fate closing in from all sides. The tension and suspense start early and build steadily, and right away you’re going away “okay, I get it…these guys are marked for doom.” And the ride is enjoyably diverting as far as it goes.