Rendező:
Ang LeeOperatőr:
Dion BeebeZeneszerző:
Lorne BalfeSzereplők:
Will Smith, Mary Elizabeth Winstead, Clive Owen, Benedict Wong, Douglas Hodge, Ralph Brown, Linda Emond, Ilia Volok, E.J. Bonilla, David Shae (több)Streaming (5)
Tartalmak(1)
Ebben az ötletes, izgalmas és rendkívül látványos akcióthrillerben a Will Smith által megformált Henry Brogan egy elit gyilkos, akit hirtelen üldözni kezd egy rejtélyes fiatal ügynök, sőt, úgy tűnik, előre meg tudja jósolni hősünk minden lépését. (UIP-Duna Film)
Recenziók (10)
A top író és a "művész" rendező szándéka az volt, hogy a Van Damme-féle egyszerű témát egy szellemes, érzelmes akciódrámává emeljék, társadalmi hangzással. És ez annyira nem sikerült. A digitálisan megfiatalított Smith egy WTF-karakter - neki kellene a legintenzívebb, minőségi színészi játékot igénylő belső vívódáson keresztülmennie, és paradox módon a Shrek-mimikájával ő a film legrosszabbul "eljátszott" karaktere. Az ambiciózus tervekkel rendelkező filmet az irreális digitális akciójelenetek is megzavarják, mintha egy Fast & Furious vidámparkból kerültek volna elő. Pedig olyan ígéretesen indult a film, még mindig menő Will-lel, és a közte és Mary Elizabeth Winstead között kialakult kellemes kémiával.
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Gemini Man is a strange combination of a 90s action movie with an attempt to suggest what the future of cinema might look like, and I'm not sure I like it. I didn’t mind the B-movie story, Gemini Man is still a brisk actioner and Ang Lee handles the chases, the shootouts and the one-on-one fights brilliantly, and thankfully there's not a shortage of them, so the overall goofiness and straightforwardness doesn't particularly matter (except perhaps for the boring villain). The problem I had was more with the visuals. While young Will Smith looks really great, everything else is kind of weird. Gemini Man is visually unnaturally... clean. Especially in the exteriors, it looks more like a very well done computer game animation, which unfortunately with its bold colors sometimes resembles the worst of South American soap operas. I don't know to what extent it was 3D or 120fps, but personally I found it distracting and even annoying at some points.
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What happens to me lately is that I watch actors that I really liked as a kid in movies side by side with their own kids that look just like them in ‘90s. Kind of deja vu but it is like that. It is so evident in Gemini Man for example that it was filmed by someone experienced and that Ang Lee proved himself already during the ‘90s. As far as contemporary movies go it is more of a routine flick than something worth remembering. Action scenes are good, special effects are OK, dialogues not so good and story line is at the level of a five-year old. But OK, Hollywood wants it that way, and therefore I’m rating it with 3 stars and I think that after a few months I will forget all about the Gemini Man without a single regret.
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Oscar-winning Ang Lee delivers a 90's style actioner, and even though the critics are grumbling, I think it's great. Will Smith is the ultimate assassin and he's just about to retire, but before he does he has to face his own younger clone who wants to take him out without hesitation. The story is interesting, but doesn't dazzle that much, which in this case I don't mind because the action scenes are almost revolutionary and technically precise. The intense music, the amazing cinematography, the utmost professionalism and precision of the two Wills captivated me with every moment and the scene with the motorbikes is one of the best I've seen in the cinema this year, but the fight in the catacombs or the rotating machine gun with lasers is also great. The acting, the action and the technical aspects of the film are impeccable and if that's enough for you, you'll be royally entertained like me. 80%
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In terms of visuals, this is a terrific film and the young version of Will Smith is convincing. The action is sweet and takes place in great locations (I keep coming across Konstanz this year). Ang Lee is brilliant. Unfortunately, the story is a classic from the nineties, celebrating its thirtieth anniversary next year. And all it needs is for Henry not to be a nice hit man. Owen is underused and the Smiths play standard roles, but Mary Elizabeth is unbelievably great. She doesn't need anyone, nothing surprises her much and she has clear professional ambitions. Gemini Man is not revolutionary; it's just a good action film.
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An art director and a renowned screenwriter have put together a very modern actioner with a 1990s theme. The digitally rejuvenated Smith has the same problem as De Niro in The Irishman, or the eyes tell all. The digital faces still aren't top notch, but kudos to the filmmakers who aren't afraid to experiment with new things. Thanks to them, cinema is moving forward and digital technology is one of the alternative futures of where to go. I’ll ignore the story, it stops being interesting after 30 minutes, which unfortunately should have been the "wow" moment. Smith can still swing fantastically, even though he’s pushing fifty already. Overall, Lee nailed the action scenes and they look very impressive, which is also the only reason to watch this film.
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For how seriously it takes itself, Gemini Man isn't a particularly sophisticated spectacle, and though I secretly wished it would, the third corner of the Will Smith cinematic triangle of I Am Legend + I, Robot + ? certainly didn't come into being. Aside from the strange script, which seemed to set the stage for a surprising twist several times but ultimately let it go, the gimmicks were also strange. I don't mean the rejuvenated Will Smith, who is really perfect (What's next? Can we look forward to Buster Keaton slapstick?), but as for the rest – a lot of the shots look so disturbingly digital... The motorbike chase is fine, but sometimes something catches the eyes (you just have to wonder what it would be like with a stunt madman like Tom Cruise with no need for digital doubles and motorbikes), the man-on-man fights look more like robot-on-robot fights... And any directorial ideas? When I remember how originally Ang Lee once envisioned the comic book Hulk(yes, I really likedit), here I have to say: no glory.
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I didn’t believe Hollywood was still able to produce pure action blockbusters like this. Despite all the inevitable changes during its production, this is clearly a Bruckheimer premise from the 90s in its full glory, at the centre of which there is a protagonist who’s exceptionally proficient in the liquidation of villains, a potentially romantic line that is fully pushed aside, and a conspiracy that goes all the way to the top, but without the burden of a social or political context. The narrative creates a simple hyperreality where only the two sides of the conflict exist, and everything else is unimportant. Using pure images and digital effects, Ang Lee emphasises this concept to create an alternative world that I had no trouble accepting and let myself be absorbed in at least at the level of a proper action experience. The action itself is not static or forced, but fairly diverse in the way it moves the plot forward, and the digital look is not painful to watch – it actually fits into the concept. Actually, there’s not that much action, it relies more on the interactions of the characters, who direct an otherwise simple story. This is not revolutionary genre nonsense, the story is too standard for that and the way it develops some of the motifs is unoriginal and telegraphic, but I was impressed by the old-fashioned feel and, after a long time, Lee gave me 3D comfort where I can see a promising visual future (though I understand that many viewers won’t like this hyperrealistic style). Personally, I expected it to be considerably funnier in a 90s way – all that seriousness didn’t work on me at times.
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The advertisement for Gemini Man in 3D HFR format lured me to the cinema and I was curious to see what a rejuvenated Will Smith would look like "in real life". More than once during the plot, I felt a certain genre confusion and wasn't entirely sure if the film itself knew what it wanted to be. What we're dealing with here is an action-packed sci-fi about human cloning, peppered with the odd quip and romantic reference here and there, while at times superficially trying to be something better within the sci-fi genre. As far as the action sequences are concerned, I have no complaints, the motorcycle chase, the duel among the skulls and the final fight were flawless – though I must point out that at times it looked a little too artificial due to the picture quality, but I'm still glad I decided to go to the cinema to see this particular format. The visuals of the rejuvenated Smith were indeed impressive, I was a little put off by the small space for Benedict Wong and puzzled by the rather bland ending. It's certainly not a wasted two hours in the cinema, but at the same time it's a one-off affair that will fade from your mind within a week.
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It was Vidocq in 2001, it was Public Enemies by Mann, Gamer by Neveldine/Taylor, or the entire Hobbit trilogy. These are all pioneers of the digital barrier in film who, however much they were previously blamed for it, have broached uncharted territory for others without the constraints of film stock and twenty-five frames per second. And now this Segal-esque action flick will join them. Gemini Man runs at up to 120 FPS under specified conditions, which to the unprepared eye can seem like an incredible abomination. And an abomination it is. The action scenes are still manageable if, following my example, you spend a fair amount of your time in virtual worlds (and the film tries to identify with the viewer in this way through various first-person shots), but the civilian scenes are harder to handle. The over-sharpness and huge resolution struggle with how easily artificial lighting reveals and discards any other planes in the shot. Indeed, if the distant object is in focus at the same rate as the foreground object, the image starts to look two-dimensional instead of spatial because you’re already so used to working visually with the simple limits of your eyes. If the filmmakers' need to increase the number of frames per second is motivated by a desire to bring the viewer closer to what is happening on the screen, this ignores the fact that human attention, sight, and perception also work subjectively. Good action scenes in movies take advantage of this, and in a field of constantly changing and frenetic situations, they throw us keys to fix our attention on what they want us to see. Gemini Man feels like it doesn't need such keys. It settles for focusing the action to the maximum and all it wants us to do is watch. Then again, the action scenes themselves aren't bad at all (except for some really gimmicky special effects), but they don't give the impression that there are live people in them. Which is a problem with a story about hard-hitting killers who are supposed to bleed and suffer. _____ Interestingly, I didn't want to write about this at all originally, because more than the technical side of it, I was struck by the fact that it's used to reveal the utter exhaustion of former Hollywood first man Will Smith. He looks more tired and useless here than any contemporary Bruce Willis, and the triple-digit frame rate mercilessly never wavers from him. The man is no longer even able to enter a room naturally, and the fact that the film is all about him and his WETA clone is more fascinating to me than all the technological advances demonstrated. I know the Chinese don't want much more from their domesticated acting whores, but here we're at the point where it’s unpleasant to wind up with a clearly uncomfortable actor being in the same piece of work. It's no secret that the script for this gunk existed back in the 90s, and for quite some time Nicolas Cage was attached to it. It's amusing then to see how apparently the only change from its original form was the addition of a female character. She stands confusedly in the background for a good half of the scenes, not knowing what to do, while the two Will Smiths talk about the scars on their souls. This makes it evocative of when one of the players doesn't make it to a D&D gaming session and you have to play out the scenario with the other players and pretend like his character is there in the story with them. And so it goes on and on. Every word is a gem: "It's not a gun time. It's coffee time.", "I cannot sleep. There is where the ghosts are.", all spoken by an actor who, with each syllable, becomes more and more aware of how he's at the end of his career. If David A. Prior was in on the original script, I would believe it. And that was honestly the thing I enjoyed most about the film. It's like watching an old Cannon film knowing all the risks involved. Do you laugh at tabloid stories about poor people who win a hundred million in the lottery and spend it on booze, dope, and hookers in two years? This poor bastard won 140 million from the deadly Bruckheimer-Chinese combo and blew it in a few months on the cinematic equivalent of toluene with a crocodile. Crazy times.
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