Philip Seymour Hoffman will undoubtedly go down as one of the greatest actors of all time.

His untimely death was certainly a great loss for cinema and the art that he so wondrously bestowed upon the world. Which is why his final leading role in "A Most Wanted Man" is one to cherish and enjoy, and he fact that the film is such a tremendous spy thriller only helps matters.

As the film opens, title cards let the viewer know that security in Hamburg, Germany, has been amped up since the 9/11. Shortly thereafter a mystery man climbs into view from a sewer in Hamburg. Eventually, he catches the attention of the German spies and what ensues is a cat and mouse game between the mysterious figure, the spies and other political forces with differing end games.

 Hoffman's looming Gunther Bachmann is at the center of this narrative. Bachmann is the head of the spy operations in Hamburg, and while his mission is to grab hold of the fugitive (his name is Issa Karpov), his goal is catch a bigger fish known as Abdullah. Gunther is a rather cold and collective man, and as played by Hoffman, he seems implacable and almost frightening. This man has no qualms about extending his network of spies to follow not only Issa, but everyone he comes in contact with. Anyone worrying about the state of privacy will surely be alarmed and appalled by Bachmann's actions at certain intervals in the film.

But Hoffman provides him with so much depth, and as his backstory is revealed, the character takes on greater complexity. We find out that he is not so potent, and that his past is filled with failure. And this stone-cold figure starts transforming into a warm and vulnerable person we care about. Whereas he fascinates and bewilders the viewer at the start of the film, Hoffman manages to turn the audience into his greatest ally and make him feel his pain and frustration. The final scene of the film will jolt everyone out of their seats. It is impossible to watch Hoffman's performance, captured in a breathless long shot, and not feel completely immersed viscerally in the action.

Hoffman is definitely the star of the show, but he is not the only one. Rachel McAdams, whose career has unfortunately been mired by woeful romantic comedies, reminds the world why she is a major star to begin with. While she is undoubtedly stunning to look at in this film, it is her acting that really captures the attention. As dubious lawyer Annabelle Richter, she also comes off as a bit of questionable character early on. But her seeming confidence undergoes a jolting development as the plot unravels. To watch her conflicted eyes as she betrays Issa is wrenching.

Grigoriy Dobrygin gives another tragic portrayal as Issa, yet another character who comes off as potentially frightening at the start, but slowly wins the audience over. He gives the most quiet of performances in overall subdued film with his eyes (which are rarely glimpsed at) providing the viewer with a profound suffering.

Willem Dafoe and Robin Wright round out a marvelous cast that includes tremendous turns from Homayoun Ershadi, Nina Hoss and Daniel Bruhl among others.

The film's visual palette stands out for its steely blues. There is never any variation from these frigid visuals, but they emphasize the rigid and inflexible world that these characters dwell. The same goes for the camera movements which are not only pristine but imperceptible.

The film gets off to a slow start to enable the viewer enough time to get a hold of the numerous players and plots unfolding simultaneously. But as the search develops, the momentum moves forward unrelentingly. Twists and turns abound and astound. The final one of course is completely unexpected and extremely affecting. The final image is probably the most potent of all. Not only does it provide a direct mirror for the opening image, but it also leaves the viewer with a sense of uncertainty.

While "A Most Wanted Man" certainly dabbles in politics and hints at political ramifications by its end, it achieves a far greater purpose. It emphasizes the eternal struggle--the Sisyphean struggle, if you will. And its climax carries the weight of that boulder rolling back down the hill. Sadly, we will never be able to see Hoffman roll another boulder up the hill. But this last opportunity is certainly an unforgettable one.