Will Smith plays a black-ops mercenary, one of the best
shots in the history of his agency. However, when he tries to retire to a
non-violent life, his old employers decide that he needs to be taken out of the
picture. In the process of trying to circumvent any potential feelings of
regret that could lead into a want for vengeance, their actions only end up
reinforcing that notion, bringing Will back into the fold on a mission to clean
up house.
In between the lines, ideas relating to the personhood of
clones, a chance to stop your younger self from making the same mistakes, or
even just meta-commentary on Will Smith’s own career (old and busted vs. the
new hotness) poke their heads out on occasion, but this really ends up being a
story that requires its own gimmick to justify its existence. This production
has been languishing in purgatory for the last 20 years, waiting for the
technology to catch up to make the visuals fit, and after the success of
Captain Marvel earlier this year, this feels like the right time for it to be
fulfilled. A pity, then, that it landed in the hands of director Ang Lee.
For all the directors out there who know their way around
computer technology to achieve their artistic vision, Ang Lee is not one of
them. Whenever he lands a project with heavy CGI work (Hulk, anyone?), he
always feels like he’s distracting himself with the technology at his disposal,
leaning heavily into them rather than letting them accompany a story with a
beating heart behind it. And that unfortunately comes through in the finished
product here.
As good as the de-aging effects can get here, adding
palpable surreality to Will Smith fighting his younger self, the only
consistency it has is how distracting it is. The emphasis placed on it makes
the action scenes feel like video game run-off, and ends up making the locales
they’re placed in feel like little more than convenient backgrounds. No agency,
no purpose, just window dressing.
Then there’s the writing, which also has changed hands
multiple times over the years, and it sure feels like someone spoiled this
broth in the process. I could spend the whole rest of this review laying into
the unashamed cliché of the plot, its workings and its characters, but that
only dances out the even bigger problem: It can’t even deliver well-trodden
ground properly on top of everything else.
Aside from being frustratingly convoluted, making the
rookie’s mistake of piling high-concept ideas on top of high-concept ideas
without fleshing any of them out, it barely manages to make sense from scene to
scene. The dialogue is delivered decently through Smith, Smith and Mary
Elizabeth Winstead (her casting in an action-thriller continues to be a tease until someone gives her the chance to really cut loose in that framework),
but not to the point where it makes any of it palatable. Instead, it just makes
one wish that they were given better material to work with.
There’s a throwaway moment early on where older Smith and
Winstead are on a beach, and Winstead is eating a box of crackers… that Smith
says expired three years earlier. That is this film in a nutshell: It’s well
past its use-by date and it probably wouldn’t have been that flavourful when it
was still fresh. For all its pretence of nature vs. nurture hyperrealism or
questioning of military ethics, it only ends up being a reheated action flick
that puts way too much reliance on its effects work to salvage it. All the
wonkiness of a Will Smith genre flick combined with the deadening
self-seriousness of a Will Smith prestige picture.
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