Even a ruthless hitman needs protection, so he calls on ‘The Hitman’s Bodyguard’. The world’s top special protection agent (Ryan Reynolds) called upon to guard the life of his mortal enemy, one of the world’s most notorious hitmen (Samuel L. Jackson). The relentless bodyguard and manipulative assassin have been on the opposite end of the bullet for years and are thrown together for a wildly outrageous 24 hours. During their raucous and hilarious adventure from England to the Hague, they encounter high-speed car chases, outlandish boat escapades and a merciless bloodthirsty Eastern European dictator (Gary Oldman) who is out for blood. Salma Hayek joins the mayhem as Jackson’s equally notorious wife. The trio must team together if they wish to defeat their ruthless stalker. ‘The Hitman’s Bodyguard’ is directed by Patrick Hughes, and is rated R for strong violence and adult language throughout.
Remember that time when Deadpool, Nick Fury, and Elektra all teamed up to ruin the evil plan of Commissioner Gordon? That cute and colorful attempt at humor is going to possibly be the most memorable aspect of ‘The Hitman’s Bodyguard’, a film so ridiculed by amateur filmmaking that even the charismatic combination of two charming male leads isn’t enough to overcome its deficiencies. This film serves as the latest in 90’s action comedy buddy flicks like ‘Money Talks’ and ‘Bulletproof’, that draws a noticeable rinse, wash, repeat outline to its script, offering nothing new to make it memorably salvageable. Of the two films I mentioned, the latter one feels eerily similar to the very outline of this movie, in that two rivals must team together after one has wronged the other, they take a cross country trip together that takes them through the backroads of some pretty silly situations, and it all centers around the concepts of taking a bullet for one another. That’s not to say that ‘The Hitman’s Bodyguard’ is ripping off ‘Bulletproof’, it’s just that this genre of film has been tapped so dry that the only thing interchangeable at this point are the actors who can personalize it to theirs and the audience’s amusement.
Before I begin to critique this film, I will tell you that the performances lift my score dramatically, and kept a lot of this generic action movie fresh for me. I have always been a huge fan of Reynolds, but he’s best when he has a force of equal value to bounce off of. As the deadpan, straight man of the movie, Ryan is irresistible when it comes to drawing a smile out of you, even if it comes at the expense of his character’s calculated precision. With Jackson, it’s everything at an opposite. His character thrives on impulse and rash decision making, so when these two come together, they make a dynamic duo that equally compliments one another fluently. The film definitely moves accordingly whenever these two are on-screen, but what does the rest of it offer? Well, an R-rated performance turned in by Salma Hayek, who is easy to fall in love with, but isn’t the widest range of character once you’ve seen her material on one scene. The film refuses to elevate her as anything more than this expletive instilled firecracker who serves as nothing more than the trophy to that of Jackson’s character, and that is a missed opportunity of shame. Gary Oldman hands in another committed antagonist performance, mimicking his German accent with range and consistency that never flounders. The unfortunate aspect with him is that the film kind of forgets about him during a second act that fluffs the past rather than enhance the progression of the current. By the end of the movie, we’re supposed to feel intrigue towards his terrifying plot, but the film hasn’t approached matters from his point of view enough, leaving us with a set-up that is just put in pause until our two heroes can save the day.
As for that script, there’s many problems, but the most apparent to me was the jumbling of atmospheric mood for the film that tries to be too many genres at once. First and foremost, this film thrives best when it is a goofy comedy that stands tall with the personalities of its two leads. There’s also action, and that is Ok until the movie tries to blind us with a side that we haven’t grown to expect; violence and terrorism that speaks wonders to a serious side of film that feels out of place in this plot. During the nauseating third act of the movie, there’s also a switch to infuse some romance into the fold, concocting an overstuffed sandwich that feels harder to swallow the more we continue to chew on its ever-changing atmospheres. For my money, this film could afford to shave about fifteen minutes off of its runtime, most notably from a dependency on five different flashback scenes that fluff the hell out of this 110 minute show. To make matters worse, the ending could’ve concluded three different times, but because so little has progressed most notably with the antagonist angle of the movie, we must tough out the murky waters of convolution during the final twenty minutes that does the pacing very little favors.
After directing ‘The Expendables 3’, the personal worst of the series, Patrick Hughes came back with this film to kind of redeem his influence behind the directing chair, and there’s kind of a noticeable personalization of his pictures that have yet to cast him into efficient filmmakers. That’s not to say that he doesn’t have his charms, but when I think about the visual presentation of this movie, it does leave so much more to be desired in a major motion picture. The C.G backdrops and explosions adhered to the same problems that 2015’s ‘The Transporter: Refueled’ experienced, in that there’s a noticeable dimension of off-coloring that peaks every time this effect is present, relaying a feeling of cheap ambiance that sets a small stage for the A-list cast to perform on. Beyond this, the musical score is among the worst of the year easily. At the beginning of the film, this music is blared to such ear-deafening levels that I couldn’t hear the opening dialogue of the movie’s first scenes. It also beholds that annoying gift where its easy tones do nothing in adding to the scene except to tell audiences audibly how they are supposed to feel because the producers feel they’re to stupid to understand something so basic. I could honestly make a review on this aspect alone, but I will only go so far as to say that visually and audibly this movie really let me down. It feels like it could be a spoof movie at times, but the film isn’t clever enough to capitalize on that kind of medium to bring the sensibility to such bland tastes in visual stylings.
The action sequences are hit and miss, providing a combination of chase sequences and fight scenes that cater to the catastrophic hound in all of us. For me, the chase sequences are where the money is. If there’s anything that Hughes has a knack for, it’s in the fast paced intricacy of plotting out a chase that is shot with exceptional confidence. The movements of the camera keep up fine with the speeds of these vehicles, even enhancing the editing with some experimental perspectives that refuse to ever settle for mediocrity. I would’ve been fine with chase sequences for the whole film, but there are fight sequences to make it all the more personal. There’s certainly nothing condemning about Hughes methods to shooting fight scenes. At the very least, he isn’t too close to the action to where the audience doesn’t register what is happening. My problem is that the camera movements here become slightly too ambitious, mimicking the movements of the actors rather than capture the magnitude of every crushing blow. This jerky style of shooting left me winded after one scene, let alone four different fight sequences that don’t get any easier on the eyes as the film progresses. Experimenting is fine, but I think too much movement can feel taxing to those watching closely for each balance of power happening in the scene. At least it’s not as bad as a POV shot, but too much movement sequencing these violent dances more often than not had me looking away.
THE VERDICT – This bodyguard can take a bullet or two and keep charging because of energetic performances from Reynolds and Jackson, two leading men who are far too great for this movie at this point in their careers. Hughes scattershot creativity limits the film in tone and sequencing quite often, even so that the laughs from witty dialogue fade into the air like smoke rings because of the atmosphere being too thick of genre recycling to withstand lasting power. This one earns its place in the late Summer graveyard, but thankfully its impressive cast will rise from the dead once they shake themselves of this pity project that constantly misses its mark.