A young man named Kurt Gentry (Ryan Gosling) sentenced to major prison time for murder, but freedom comes much sooner: CIA agent Donald Fitzroy (Billy Bob Thornton) invites him to participate in “Sierra”, a special program for the preparation of first-class killers. In a few years, Gentry (now known as the Sierra Six and whose identity has been wiped out) becomes the world’s greatest killer. One day, his target is a pioneer in the Sierra program, and before his death, he passes the Sixth flash drive with compromising information about the CIA leadership. The hunt is then declared for the Gentry himself. His assassination was given to Lloyd Hansen. (Chris Evans) – an extremely dangerous mercenary with no rules.
The Gray Man poster is full of big names: in addition to Gosling, Thornton, and Evans, we should ominously mention Ana de Armas, who plays a TsERushnitsa with a fairly understandable moral compass, followed by the Russo brothers, who were the directors of the last Avengers. hang on the heads of the entire group. The budget is correspondingly exorbitant: the same $200 million Netflix, which was previously allocated only to Ryan Gosling, Dwayne Johnson and Gal Gadot, and Red Notice, is now in the streaming range of such expensive junk (given the current problems of the company that is losing subscribers), and If the stocks are falling, the matter may not go any further).
Frame from the movie “The Gray Man” (2022)
Netflix
The good news is that it’s not quite as dumb as The Gray Man Red Notice (or the same Rousseaus’ Downhill movie from last year, in which Tom Holland plays an Iraqi veteran with a nightmarish mustache). Bad is still a very silly movie. Film adaptation of Mark Greaney’s book, collaborating with Tom Clancy on a series of novels about Jack Ryan in the first half of the 2010s, and in the second, he continued to work solo after the death of the co-author, seems to be the beginning of a full-fledged franchise (he has already written 11 about the Gentry books , 12 will be released next year). To be honest, I’d like to hope for the collapse of the idea that’s been whirling around in production hell for almost a decade: The two hours currently available are pretty much on the scale for this story to exist on our screens.
“The Gray Man” is utterly primitive and in everything (Bourne, Bond, “Mission Impossible” – a little bit of everything) as if it’s basically nothing secondary, a one-off movie like this is also of course necessary, and God bless him, some are crazy for him ready to pour money. Russo’s tape could be one of the cutest blockbusters of the season. I wish it didn’t look like a complete hack.
Frame from the movie “The Gray Man” (2022)
Netflix
The lion’s share of the funds, of course, went to the fees of major artists and films around the world, but sometimes because of this – at least to save some money – editing and graphics feel like critical things. stupid blockbuster movies were given to the freshmen of film universities (although there is a suspicion that they would actually do better). As a result, the generally good choreography of the fight sequences and Fast & Furious cinematographer Stephen F. Windon’s attempts to portray something fun (drones flying wild in the air; drones in movies are bad) cut it. unexplained active frame fragmentation is turned off almost to the root.
All in all, Gray Man seems to justify his name in the most deplorable way, and the chaotic flicker on the screen finally drowns out the first hour of the already bleak script Joe Russo was working on with his MCU colleagues Christopher Markus and Stephen McFeely.
Frame from the movie “The Gray Man” (2022)
Netflix
Some pleasure from all this, of course, can still be obtained. In the second half, you either surrender yourself to the situation and keep up with the rhythm, or the movie really gets a bit off, plus Gosling charmingly disdains the friction killer with his puppy look, and Evans equally outdoes the sociopathic buffoon. in moderation, and in total even a certain zen look is achieved at the moment (de Armas really has nothing to be overlooked or exaggerated here, but he’s in the frame – and okay, though we certainly remember from the last Bond’s good protagonists Phoebe Waller-Bridge’ under his personal supervision).
Another thing is that the bad feeling that they’re keeping us here for idiots still hasn’t gone away, and that’s probably not very useful for cinema, whose sole job is to stimulate the release of endorphins. Fortunately, regardless of all that, Russo’s movie will be completely out of my mind in a few days.
Source: Gazeta
Barbara Dickson is a seasoned writer for “Social Bites”. She keeps readers informed on the latest news and trends, providing in-depth coverage and analysis on a variety of topics.