Though, The Gray Man’s reliance on computer-made effects stifles the suspense some. The showcase set piece is a street chase through Prague, one that almost simulates the breakneck speed of a Mission: Impossible stunt-fest.
It’s fun, though.Īs are the other action sequences in this bullet-strewn movie. Like much of The Gray Man, this scene isn’t quite as huge and cool and grand as it thinks it is. (In a fighting sense! In a fighting sense.) I don’t think that’s really the case, so the movie’s air of consequence might be a bit misplaced, or overestimated. But the way the scene is framed, you’d think filmgoing audiences have been waiting for years to see Ryan Gosling and Chris Evans go at it. When it arrives, the big fight is satisfyingly crunchy. He and Gosling don’t have many scenes together, but the film is clearly built toward their inevitable showdown. Whatever the gag is, Evans sells it hard, seeming to relish, as he did in Knives Out, the opportunity to play someone standing directly opposite Captain America’s tediously steadfast morals. With his slicked back hair, velvet loafers with no socks, tight shirts, and little mustache, Lloyd could be a creaky homophobic joke-or a decidedly fresher joke about Love Island-type fuckbois. That same snarky-serious energy is there the same super-human-ish strength and stamina the same glancing attention paid to the wake of civilian destruction left by the film’s heroes and villains.īut The Gray Man is a much more free-wheeling film than the somber Bourne franchise, a fact best evidenced by the presence of Chris Evans, who plays a ruthless, wisecracking mercenary named Lloyd. In some ways, The Gray Man is just another Marvel movie, only without magic stones or aliens.
MAGIC BULLET LOOKS AFTER EFFECTS MOVIE
It’s Netflx’s most expensive movie to date, a spectacular from guys who are well versed in maximalism: Joe and Anthony Russo, who directed the last two Avengers movies. The Gray Man is otherwise notable for its sheer scale. The Gray Man is a welcome reminder of Gosling’s lighter charms, ones he really should show off more often-and maybe will, in next year’s Barbie. Sure, he’s playing a haunted assassin with a troubled past-but some of his old razzle-dazzle still manages to shine through that muscled gloom. He gets to quip and do stunts and make nice with a kid.
So it’s a pleasure to watch him in The Gray Man (from First to Gray-the story of life, really), a big dumb action movie (in theaters now, on Netflix July 22) which marks Gosling’s return to film after four years away. (As he was in earlier years, in Drive and The Place Beyond the Pines and more.) Those performances were a far cry from the arch snap, the animated vigor, that had given life to some of his early, career-boosting roles. (Later in the film, he stood on the moon and stared sadly at Earth.) Gosling was in one of his saturnine phases back then, quiet and recessive in both First Man and Blade Runner 2049. When last we saw Ryan Gosling on the big screen, he was staring up sadly at the moon in First Man.
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