Not trying to brag or nothin’, but I kept telling myself this movie felt like Atomic Blonde, only to find out later that it was secretly codirected by that movie’s David Leitch, so I guess I know my Russian secret-agent hit-man action thriller directors. I skipped this Keanu Reeves revenge flick when it came out, but I keep hearing good things about it and the sequel, so finally checked it out in between viewings of American Made.
The late Michael Nyqvist with Dennis Duffy:
Keanu is sad after his girl’s death from illness, left only with the dog she left him, an awesome car, a weapons arsenal, and intense murder skills, so when the local crime lord’s son kills the dog and steals the car, Keanu will not be persuaded to stop killing people (this one is more revenge-driven than the previous movie I watched, which was simply called Revenge).
Fun movie, with some interesting comic-booky elements (a hitman society with a safe-zone hotel headquarters), with appearances by Willem Dafoe, John Leguizamo, Jerry Horne, Lester Freamon and Cedric Daniels.
What verve, what style! Super-paranoid triple-agent action spy thriller starring all the best people, every scene awesome. Sure, a couple of dialogue clunkers and an overall feeling that, despite the constant life-or-death struggle, nothing really consequential is happening, but this movie is good, and I watched it at a good theater, sitting right up close.
Huge centerpiece showing in a single take how Charlize got beat to hell protecting Eddie Marsan. Poor Marsan – when you see him in a movie you just know things won’t turn out alright for him. John Goodman is CIA, Toby Jones is MI6, so who really was James McAvoy? Not a double agent, just a spy who got caught up in his own power? As Charlize runs into a movie theater playing Tarkovsky’s Stalker to hide from assassins, I lost track of the double-dealings and reveled in the self-conscious coolness.
The director is the Wachowskis’ stunt coordinator and did second-unit stuff on Jurassic World and the Ninja Turtles movies. It’s not the most promising looking resume, but damn. More evidence to check out John Wick, which Leitch codirected.
As many pop songs as Baby Driver, but used for different purposes, slinky mood music to fit the visual tone. The songs are vintage but their performances might not be – that wasn’t Ministry playing Stigmata, and some sounded like updated remixes.