His recent desire to be at the forefront of frame-based technology, however, is resulting in hollow, empty experiences that are literally hard to watch. But Ang Lee is the rare director who can invest an action movie with the same strong emotional heft he brought to his dramas like “ Brokeback Mountain.” “ Crouching Tiger, Hidden Dragon” is a great example of this. I can’t reasonably be mad at its honesty, and despite the horrendous dialogue its actors are often forced to speak, I found myself enjoying a fair amount of it. “Gemini Man” never pretends to be anything but a time-wasting contraption hoping to entertain its viewer. The relationship between Junior and Clay (which I won’t reveal) serves as an attempt at emotional connection, but their entire plotline plays like a Hitler-less version of Ira Levin’s “The Boys From Brazil.” The reasoning behind Junior and the Gemini project is far more trouble than it is worth. The always-welcome Benedict Wong shows up to supply his usual humorous line-readings and jovial nature-he’s a fine purveyor of the perfect best friend trope-and Winstead gets to kick some major ass instead of being a stereotypical girl Friday, but neither truly registers as a fully realized human being. It uses Brogan’s intentionally closed-off, emotionless personality as a crutch to avoid any meaningful fleshing out of characters and relationships. The screenplay by Billy Ray, Darren Lemke and “Game of Thrones”’ David Benioff is more in service to the numerous technological aspects Lee is juggling than any human element. It also takes forever for Brogan to realize that Junior looks exactly like him. Unfortunately, the second battle takes place in a dark catacomb where the effects are so quickly edited that you can’t figure out which version is beating the hell out of the other. The elder Brogan has the advantage the wisdom of age and experience prevents him from making the same youthful mistakes he once made, mistakes Junior is making for the first time. “Gemini Man” knows you’re there to see a battle of Wills, so it gives us multiple sequences where 51-year old Brogan goes toe-to-toe with his younger self. Lee even throws in an homage to John Woo (who would have been a better choice for this material), though he uses pigeons instead of doves. The first-person perspective really works here, as does the clever way the Smiths use their vehicles as weapons. Lee does an excellent job with Junior’s reveal and the ensuing motorcycle battle, the most exciting sequence in the film. When Lassiter’s attempts to neutralize Brogan fail miserably, Clay overrides her and executes something called “ Gemini.” You don’t have to be an astrologer to know that Gemini involves the aforementioned younger version of Smith, dubbed Junior. After colleagues start being murdered and Brogan learns that his last target was merely a scientist and not a terrorist, he goes on the run with Danny who, as expected, is also an agent. Of course, nothing is as it seems in movies like this. Is she a plant sent to keep tabs on him, perhaps an employee of Lassiter’s frenemy colleague Clay Verris ( Clive Owen)? As spies are wont to do, Brogan expresses suspicion about this change. He retires, returning to a boat dock where his normal boat renting guy has been replaced by Danny Zakarweski ( Mary Elizabeth Winstead). Brogan’s mark takes it in the neck rather than the intended head shot, and though it’s still a lethal wound, Brogan sees this as the final nail in the coffin of his career. A target on a train whose tracks curve wildly toward the screen as it flies by at unimaginable speed. Brogan is so good he can hit a target on a moving train from hundreds of feet away. Story-wise, Smith plays Henry Brogan, a highly skilled assassin working for an intelligence agency run by Janet Lassiter ( Linda Emond). It’s so obnoxious that I know of two critics who walked out after 30 minutes. In fact, it looks worse, like a hellish cross between a video game and a telenovela. Yet 120 frames per second looks exactly like motion smoothing. Tom Cruise, Paramount’s current bread and butter, made a video scolding mere mortals like a Southern grandmother for using the motion smoothing setting on their televisions. At five times the original rate of film running through the projector, “Gemini Man” looks radically different than most movies. As a point of reference using a more familiar movie, “The Hobbit” series ran at 48 frames per second. Lee’s prior film, “Billy Lynn’s Long Halftime Walk,” also used this frame rate. Paramount presented the critics’ screening in the format Ang Lee made it, 120 frames per second and in 3-D. Well, I hated one aspect of it, which I should get out of the way now because it will probably not affect most ticket-buyers. Quite honestly, I didn’t know what to think of “Gemini Man” once the credits started rolling.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |