I watched this film a few months after it was released, although there wasn't much to remember; not about the film: I remembered most of it. I'm referring to my particular feelings toward it and whatnot. I know I gave it the highest rating, as handing out the highest ratings left and right was what I did back then, which is different now. But I also seem to remember liking it quite a bit, more than I do today. Rating-wise, as well.
There's no doubt that it's enjoyable. The profanity is prominent, almost to the point where you feel like the writer thinks that's the peak of comedy, unable to go about it any other way. However, it was more positive than negative, primarily due to Ryan Reynolds and Samuel L. Jackson, particularly their chemistry. They drove the vehicle, and it was for them; everything/everyone else: parts of said vehicle. What an unrivaled analogy that was, huh? They carried this film, not that the writer tried making anything (and anyone) else as good, except for the action sequences, which had nothing to do with the writer. They were directed well by Patrick Hughes, and the fight choreography was also good.
But I can understand the likely negativity towards that by some people: quite possibly the majority. What I mean by that is how, besides Ryan Reynolds and Samuel L. Jackson, their characters and chemistry, everything and everyone else seems there only because they need to be there; you can't have a film where there are only two people. The fact, through the writing, that they're the draw and point of the film solidifies that. I'm sure the plot driving the film, including the other characters, could've brought more to the film, except those things were likely on the back burner.
Taking a step further, the underutilization of Gary Oldman was criminal; he hardly had any significance besides being the end goal. I'm unable to think of the reasoning. It can't be for star power: "Hey, look! Gary Oldman's in this film!" Ryan Reynolds and Samuel L. Jackson are right there, and the main actors, no less. And even if that did play a factor, what about underutilizing him? I want to say he gave a decent performance, but he didn't have much screen time. Accent-wise, I guess he did good, and I'm basing that on his voice-acting of Viktor Reznov in Call of Duty: Black Ops. At the very least, it had to be better than most accents like that done by practically everyone else.
On top of that, one of my biggest gripes (presumably the same for most people) was how most of the film looked with the bland/blurry visuals that seem often done, like TV shows/films on Netflix or anything on The CW. I guess that's because of the camera or lenses (I don't know anything about that sort of thing). Whatever it is, perhaps it's easier or cheaper. If not, why is it done so often? But the cinematography by Jules O'Loughlin had some nice shots, and the visuals in the torture scene with the lighting/colors were the highlight.
Besides the good performances by Ryan Reynolds and Samuel L. Jackson, the chemistry between them, some of the comedy, the decent action sequences, and the occasional good shot by Jules O'Loughlin, the soundtrack is comparable. Specific cues from the score by Atli Örvarsson had remnants of various sources that have an individualistic connection. I heard a blend of Get Smart (the show), including the film (which replicated the score), The Man From UNCLE (film), and maybe a little of Mission: Impossible sprinkled in. And the songs were good, too. Selena Arizanovic, the music supervisor, did an adequate job with that. I prefer that aspect of the soundtrack over the score, which was still good.
My favorite scene was a scene that most people likely disregarded: the flashback of Kincaid's first contract. The cinematography and the location were both great; there were a few similar instances, almost like you're watching a different film since most of the visuals were blurry. And the music (Atli Örvarsson's 'One of the Good Guys?') during it was immaculate.
If you're looking for an enjoyable time, this film will provide one: unless you're more concerned with focusing on things about it that aren't up to your standards. I'm not saying those things aren't there, but none of them are bad enough to where you can't enjoy the film. I thought the film's middle point was the best, with the first half a close second, the last half in third place, as the chase sequence dragged on and everything, after they make it to the court, was underwhelming.
Lastly, Samuel L. Jackson's song playing during the end credits, 'Nobody Gets Out Alive,' was excellent. If you haven't heard it (the complete song), you should.
Review by LineageBlockedParent2022-10-15T18:37:25Z
"Boring is always best."
I watched this film a few months after it was released, although there wasn't much to remember; not about the film: I remembered most of it. I'm referring to my particular feelings toward it and whatnot. I know I gave it the highest rating, as handing out the highest ratings left and right was what I did back then, which is different now. But I also seem to remember liking it quite a bit, more than I do today. Rating-wise, as well.
There's no doubt that it's enjoyable. The profanity is prominent, almost to the point where you feel like the writer thinks that's the peak of comedy, unable to go about it any other way. However, it was more positive than negative, primarily due to Ryan Reynolds and Samuel L. Jackson, particularly their chemistry. They drove the vehicle, and it was for them; everything/everyone else: parts of said vehicle. What an unrivaled analogy that was, huh? They carried this film, not that the writer tried making anything (and anyone) else as good, except for the action sequences, which had nothing to do with the writer. They were directed well by Patrick Hughes, and the fight choreography was also good.
But I can understand the likely negativity towards that by some people: quite possibly the majority. What I mean by that is how, besides Ryan Reynolds and Samuel L. Jackson, their characters and chemistry, everything and everyone else seems there only because they need to be there; you can't have a film where there are only two people. The fact, through the writing, that they're the draw and point of the film solidifies that. I'm sure the plot driving the film, including the other characters, could've brought more to the film, except those things were likely on the back burner.
Taking a step further, the underutilization of Gary Oldman was criminal; he hardly had any significance besides being the end goal. I'm unable to think of the reasoning. It can't be for star power: "Hey, look! Gary Oldman's in this film!" Ryan Reynolds and Samuel L. Jackson are right there, and the main actors, no less. And even if that did play a factor, what about underutilizing him? I want to say he gave a decent performance, but he didn't have much screen time. Accent-wise, I guess he did good, and I'm basing that on his voice-acting of Viktor Reznov in Call of Duty: Black Ops. At the very least, it had to be better than most accents like that done by practically everyone else.
On top of that, one of my biggest gripes (presumably the same for most people) was how most of the film looked with the bland/blurry visuals that seem often done, like TV shows/films on Netflix or anything on The CW. I guess that's because of the camera or lenses (I don't know anything about that sort of thing). Whatever it is, perhaps it's easier or cheaper. If not, why is it done so often? But the cinematography by Jules O'Loughlin had some nice shots, and the visuals in the torture scene with the lighting/colors were the highlight.
Besides the good performances by Ryan Reynolds and Samuel L. Jackson, the chemistry between them, some of the comedy, the decent action sequences, and the occasional good shot by Jules O'Loughlin, the soundtrack is comparable. Specific cues from the score by Atli Örvarsson had remnants of various sources that have an individualistic connection. I heard a blend of Get Smart (the show), including the film (which replicated the score), The Man From UNCLE (film), and maybe a little of Mission: Impossible sprinkled in. And the songs were good, too. Selena Arizanovic, the music supervisor, did an adequate job with that. I prefer that aspect of the soundtrack over the score, which was still good.
My favorite scene was a scene that most people likely disregarded: the flashback of Kincaid's first contract. The cinematography and the location were both great; there were a few similar instances, almost like you're watching a different film since most of the visuals were blurry. And the music (Atli Örvarsson's 'One of the Good Guys?') during it was immaculate.
If you're looking for an enjoyable time, this film will provide one: unless you're more concerned with focusing on things about it that aren't up to your standards. I'm not saying those things aren't there, but none of them are bad enough to where you can't enjoy the film. I thought the film's middle point was the best, with the first half a close second, the last half in third place, as the chase sequence dragged on and everything, after they make it to the court, was underwhelming.
Lastly, Samuel L. Jackson's song playing during the end credits, 'Nobody Gets Out Alive,' was excellent. If you haven't heard it (the complete song), you should.