THE GRAY MAN
An astronomically expensive and grandiloquent globetrotting espionage thriller that bounces around at a breakneck pace with some smashing action sequences. Although, it does get exhausting watching it try to tirelessly outrun its uninventive, been there, done that narrative. Ryan Gosling is great as Six, an adept CIA hired gun who murders with no questions asked. That is until he comes face-to-face with one of his own and learns of dark and dangerous information about those he’s working for. In possession of an item his boss, Carmichael (Regé-Jean Page), desperately needs – Six is hunted down by Lloyd Hansen (Chris Evans), a sociopathic contract killer with style and a trash-stache to back it up.
Directors Anthony and Joe Russo clearly have a flair for delivering rousing, adrenaline-fueled action, but it’s hardly enough when fused with such a simple story, shoddy script, and confused editing. We thankfully have the equally matched endurance and charisma of Evans and Gosling to hang on to in their spy vs. spy showdown. Evans does a bang-up job playing a crockpot rogue who plays by his own rules. Meanwhile, Gosling is forever forbearing, never losing his sense of humor in between fighting to stay alive. Co-starring Ana de Armas, Billy Bob Thornton, Dhanush, and Julia Butters, The Gray Man is enjoyable if not particularly exciting. I guess you could say it’s just another Thursday kinda entertainment.
PERSUASION
Straight from the British theatre, director Carrie Cracknell’s feature debut is one of the best Jane Austen adaptations in quite some time. It’s a modern, waggish version that’s risky to do but is all the better for it. Sure, the Austen enthusiasts out there will likely strongly disagree with me, but for the general crowd looking to jump back into the extravagance of the Regency era – they will have a fabulous time.
In a family filled of narcissists, Anne Elliot (Dakota Johnson) is the oddball. She feels deeply and cares thoughtfully about those around her. Some years ago, she was coaxed into not marrying Frederick Wentworth (Cosmo Jarvis) and has regretted it ever since. Though, the past is thrust upon her once more, and the question becomes how long can the love and despair she’s held inside be contained? Or, perhaps Mr. William Elliot (a charming Henry Golding), a distant cousin and heir of Anne’s selfish father, Sir Walter (a criminally underused Richard E. Grant), will be the distraction she needs.
It’s a love triangle that’s pleasurable to watch as it transpires right before our eyes. This story comes from the last novel completed by Austen, and while it can certainly feel fiddling – a radiant Johnson breaking the fourth wall, splendid camerawork, and stunning production design make for a delicious treat that’s pleasing to the senses.
Brandon Vick is a member of The Music City Film Critics’ Association and the Southeastern Film Critics Association, the resident film critic of the SoBros Network, and the star of The Vick’s Flicks Podcast. Follow him on Twitter @SirBrandonV and be sure to search #VicksFlicks for all of his latest movie reviews.
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