A big toy without too much imagination: The Gray Man, review

A big toy without too much imagination: The Gray Man, review

A big toy without too much imagination

The Gray Man is familiar, perhaps even too familiar. Il di lui is a narrative path that does not have too much to offer to lovers of the genre, precisely because it draws from the classics without ever innovating their form. From its earliest developments the situation appears quite clear, heralding a story that never dares in its dynamics, framed by a formal touch that enhances itself, without however moving in unprecedented directions. The choice to focus more on the spectacular action, without reflecting too much on the dynamics of the plot, is not something ever seen, especially when it comes to an action film, with a set of quotes, pitted in the course of the narration, linked to a kind of comedy that seems an end in itself. Yet the directors believe it to the core, carrying on a story that is energetic as a whole, albeit rather predictable in its development.

The Gray Man Since its announcement The Gray Man has undoubtedly attracted the attention of the general public. Whether for its great cast made up of high-sounding names, or for its directors, there was curiosity. Obviously, such a project has never set itself the goal of innovating, but rather of entertaining, and in this it succeeds fully. The question remains whether such a film was aimed at the average and unpretentious viewer, or at the great fan who chews bread and action weekly if not daily. The film was released in select theaters starting July 13 and is available in the Netflix catalog from July 22.

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The Gray Man knows that he has already seen

Six is ​​quite stereotyped on the whole of him. His is the typical coldness of the protagonist of an action film. He is a living weapon resulting from some heavy abuse received at a young age. Impenetrable as a whole and complex to decipher. The of him is a look from which nothing shines through, and with which it is difficult even for the spectator himself to get in touch. Strong and extremely prepared, he effectively recalls the canons of the action hero ready to do anything to accomplish his goals (inevitably recalling 007, and all the Ethan Hunts in history). Behind him a rather curious antagonist at first, only to end up in a clumsy and rather superficial attempt at writing: Lloyd Hansen (Chris Evans). He is a real sociopath whose reasons we never fully understand. An unscrupulous weapon of mass destruction, hired by the CIA to end Six's life in any way possible. From this a real chase develops, which shuffles and rattles off all the motivations of the plot, up to the end. | tag crm_srl-th_culturapop_d_mh3_1 slot id: th_culturapop_d_mh3 "); } One of the most interesting sides of this The Gray Man remains the female characters like that of Dani (Ana de Armas) ready to dismantle the sexist stereotypes of the action genre, bringing out a grit that dynamizes the entire narrative in general. Some arguments along this path remain interesting in the film as a whole, moving the narrative towards even unexpected shores.

However, everything remains linked to the entertainment dimension, giving back to the general public a real "explosive toy ”With which the Russo brothers, the directors, had fun from the first to the last shot. It is not necessarily a bad thing, also because the general lightness does not clash at all with the main threads of the story of a story that runs from moment to moment without thinking about it too much.

The Gray Man: carefree lightness

As mentioned above with The Gray Man the Russo brothers are not looking for a conceptually committed narrative, rather for a real window on a world made up of shootings and fights to the death. From this point of view, the film is very committed, also achieving remarkable results overall. The many shootings scattered along the route capture the attention, holding even with bated breath at times, thanks to the interpretations of the main actors and the constantly moving direction. As in any self-respecting action film, also in this case the events unfold along dream settings, sought-after places throughout Europe (Vienna, Prague, Chantilly Castle in France ...), shaping beauty into explosives , bullets, fire and unpredictable clashes. The two hours of the film go by easily, even if the plot motivations remain weak from start to finish, also taking a predictable turn towards the end. It is a real pendulum that oscillates between formal attention to the action genre, and a plot that never gives you a way to really get attached to what happens on stage.

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