El agente invisible

Me parece que escribir cualquier cosa sobre esta película ya es una gran pérdida de tiempo. Resultó ser algo mediocre para las grandiosas declaraciones de Netflix y las considerables expectativas de la audiencia, pero no nos mintamos a nosotros mismos, no es precisamente el producto para verlo a la hora de planchar como lo fue Alerta roja (también conocida como la segunda producción más cara de Netflix). El agente invisible es divertida (sobre todo gracias a Chris Evans, que se lo pasa realmente bien como villano psicópata con bigote). (10.09.2022)

The locations change like on a treadmill, but the problem is that the you can’t see the 200 million USD budget at all. Most of the film takes place in dark interiors, so the viewer's eye doesn't feed and the few camera flyovers with drones don't save the day. And the action? There's little that's truly memorable and when there is it's dull, lacking any ideas or technical flourishes; Paul Greengrass should give these brothers some lessons in directing action scenes because the result here is dull. The only highlight is Prague and its several-minute tram rampage, but even that didn't raise my pulse, any action passage from Bourne has much more balls. The only bright spot is the one I wouldn't have expected: Chris Evans is excellent, and although his role might tempt one to overplay it, he holds back reasonably well until the end, which is more than enough for a psychopath par excellence, also, the porn-stache does its bit too. Netflix is slowly becoming a synonym of money dump. (23.07.2022)

Compared to Bourne, The Gray Man is a lot dumber and more B-ish. Compared to Bond, it’s less stylish. Compared to Hunt, it’s less imaginative. But if you throw out the attempts to compare to him the greatest heroes of spy-action movies, he actually doesn't come out nearly as bad. The premise is already a B-movie washout, so it probably shouldn't surprise anyone that the movie will be similarly off. The opening scene in Bangkok would easily stand up to a Bond film, but then it takes almost an hour before anything really interesting and entertaining starts happening. And no, I don’t mean trying to go in depth with flat heroes and trying to describe the behind-the-scenes practices of CIA agents who don't even trust each other. Once the action shifts to Prague, however, and the tram set-piece you couldn't help but read about kicks in, it becomes fully apparent that The Gray Man may have had bigger ambitions, but only on paper. If the film and the audience can come to terms with the fact that it's a big overpriced action B-movie, they can enjoy it as much as I did. The Russo's may go a little overboard with the drones and the stunts could have been better handled, but the action is truly spectacular, imaginative and you can see the budget. Chris Evans is a fine asshole, Ryan Gosling doesn't offend, but it's not his life role, and Ana de Armas relies on acting cute even though she has two rocket launchers on her back and a grenade launcher in her hand. If you find that idea funny and entertaining rather than awkward and ridiculous, chances are you'll enjoy this solid action flick. Netflix may have wanted more, and it's not great by any means. On the other hand, if The Gray Man catches on and we get a sequel, I'll gladly spend those two hours with them again. (24.07.2022)

As an action spy flick, it’s alright, but as something with a 200 million USD budget aiming to be the best of the Netflix showcase, it’s a bust. To be fair, though, the current blockbusters from classic movie studios (half of the Marvel movies, The Fast and the Furious franchise, the latest Jurassic World, and so on) are similarly shitty. For me, the main problem is that the film "jumps the shark" somewhere in the thirtieth minute, in the extremely ugly (for that money) CGI scene falling out of a plane without a parachute. From that point on, it doesn't matter, we can't worry about the hero because he’ll have it easy peasy. Now he's in Turkey, now in Vienna, now in Prague, he gets stabbed several times, falls down a well, jumps off a moving tram, but hardly anything happens to him, he's just cool. I'd like to see him at least not twist his ankle in real life and then not move for a week! Have the filmmakers watched John Wick, where the action is kept (more or less) grounded and physical to the point it hurts? That’s why those are films people remember. The Gray Man, on the other hand, everyone will watch it (everyone who still has Netflix, that is), but they will forget it in a week. For Czech viewers, it's quite rewarding at best in the sense that they will enjoy watching all the cities that Prague plays here (though there’s always a dominant of the given metropolis painted on the horizon). Otherwise, a forgettable film, the most interesting thing about it is that it doesn’t have any style (which, interestingly, is the opposite I criticised the Russo brothers for in Cherry). (22.07.2022)

I promised myself I'd take a break from Netflix movies, but that went out the window as soon as The Gray Man dropped – especially since parts of it were filmed in Prague, which always grabs my attention. Unfortunately, it turned out to be yet another letdown. Despite being directed by the Russo brothers and starring the reliably good Ryan Gosling, a surprisingly demonic Chris Evans, and the always stunning Ana de Armas, the film fell flat. The best moments were those set in Prague, where the filmmakers wreaked havoc like an army marching through Europe. Beyond that, it was a mess. The cinematography was dreadful (except for the drone shots, but any enthusiast could pull those off nowadays), and the action was a jumbled blur. For an action film, it was a disaster to watch. It’s mind-blowing that this film had a bigger budget than the current top-tier Top Gun: Maverick. Clearly, something went very wrong. (26.07.2022)