Review : The Gray Man 2022
Review : The Gray Man 2022
Mission overview. Ryan Gosling is the star of the newest Netflix original action/thriller, The Gray Man, which was created by Anthony and Joe Russo, the filmmakers of Avengers: Infinity War and Endgame.
That is what the rise in visually appealing, intensely violent, technically sophisticated, expertly produced, and highly expensive films has accomplished. It has established the dominance of a whole genre of movies that can accomplish everything that is intended of them while still feeling like they were created out of nothing. A film like The Gray Man can be quite enjoyable if it is starring charismatic, talented actors with a capital M, like Ryan Gosling and Chris Evans in this case. It can be smart, imaginative, and give a wink while embracing incredibly ridiculous set pieces. But there's something unsettling about it that makes it seem as though it's wrapped around something if you unwind the entire thing layer by layer. But if you peel back each layer of the whole thing, there's something disquieting about it that gives you the impression that it's wrapped around only itself.
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The premise, which is based on Mark Greaney's 2009 novel, is as follows: Years ago, in exchange for his "freedom," the man known as Six (Ryan Gosling) gave away his identity, including his name, past, family, and ties, and turned into an assassin, a tool of the US government. He is a member of one of those teams a la Impossible Mission Force, whose allure is built on the notion that there are restrictions on what the government can do in public and that the most courageous badasses are those who disobey those restrictions. Six is first sent to kill a man about whom he knows nothing, but as the mission progresses, things become tricky, and Six finds himself on the run while being on the opposite side of his own covert, violent, lawless, and unaccountable organization. Whoops? (This essentially occurs to every single member of a force like this at some point.)
The cold-blooded employer of Six (Regé-Jean Page, who was just as gorgeous with a suit and spectacles on Bridgerton) hires a private contractor to find him using any means necessary. Chris Evans portrays that contractor, Lloyd Hansen, and he sports an ugly short haircut and a cheap, sleazy little mustache. Even if Lloyd occasionally exhibits the same witticisms that Evans displayed in his role in Knives Out and may possess imposing arms (in both senses), make no mistake:
Both of these men have been employed as murderers for years, but he is the bad guy. Fitzroy (Billy Bob Thornton), the retiring mentor, is being used as leverage against Six, who is supposed to be the nice guy, only trying to survive and save him. One of the numerous aspects of the movie that makes us wonder, "Look around at the world; do we have to do this right now?" is that Hansen enjoys outright torturing people, which we get to/have to watch.
However, The Gray Man doesn't need to be a character-driven drama for it to seem hollow. It really is enough for the main conflict to revolve on good guys and bad guys! However, in this instance, it seems pointless to sort through the facts to determine who is good and who is bad because everyone in the novel is a ruthless murderer who follows orders and kills who they are directed to kill (we are unsure of the types of persons Six has killed at the request).
Because Six and Hansen don't already know each other, The Gray Man also doesn't fully work as a story about chaos among immoral chaos agents (the way, say, a mafia story can). Except for Six and his second mentor, Alfre Woodard, most of these characters don't have many relationships with one another. The time we spend with their relationship is laughably brief, but it feels immediately genuine and fascinating, making it by far the most credible in the film. The stakes must originate from the individuals if everyone is going to be an off-the-books hired killer, distinguishable only at the margins. Let's indulge in some betrayals, old wounds, heated debates, and simmering resentments.
The Gray Man has many entertaining, well-executed moments, including deft reflection use, a ridiculous but compelling sequence involving handcuffs and a bench, a memorable running joke about the people who keep having to keep Six from dying, and a lot of really cool fighting performed by an underused but still potent Ana de Armas. Evans' high-energy, cheesy, sleazy statements and Gosling's dry, weary muttering make an effective pair.
Like many creatively disappointing endeavors by talented people, there is something more intriguing lurking around the fringes of this undertaking. The Gray Man is, at turns, both a celebration of a particular brand of overpowering, intoxicating masculinity and a mocking of it. Despite being stupid and vicious, Lloyd is terrifying. The fundamental premise of the movie is that Six repeatedly needs the help of other people, particularly ladies, to get him out of precarious situations from which it seems impossible for him to escape (in the style of James Bond or, if you like, MacGyver).
The Gray Man is directed by Joe and Anthony Russo, who you may recognize from their work on the six billion dollar worldwide grossing Marvel films Captain America: The Winter Soldier, Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame. Here, they demonstrate what they have learned about staging a significant action scene with the help of a huge budget (reportedly $200 million).
A wish is not a criticism. Wishing that everyone involved in a project like this had used their great talent, experience, power, money, imagination, and other resources to create something different may not be criticism in the strictest sense. The Gray Man appears to be exactly what it should be, and when it happens, it's frequently enjoyable. However, there is a strangely empty feeling in its assembly. Perhaps even skilled movie killers require a guiding principle.
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