is just another Marvel movie, only without magic stones or aliens. That same snarky-serious energy is there; the same super-human-ish strength and stamina; the same glancing attention paid to the wake of civilian destruction left by the film’s heroes and villains.
Gosling is the hero, called Six, named so by the CIA operation that plucked him out of prison and trained him in the art of covert killing. One mission, a fireworks-lit debacle at a Bangkok New Year’s Eve party, leads him into a web of intrigue involving the very people who pay his salary . This is a familiar setup for anyone who’s seen amovie or myriad other films about super soldiers who suddenly find themselves out in the cold.
He and Gosling don’t have many scenes together, but the film is clearly built toward their inevitable showdown. When it arrives, the big fight is satisfyingly crunchy. But the way the scene is framed, you’d think filmgoing audiences have been waiting for years to see Ryan Gosling and Chris Evans go at it. I don’t think that’s really the case, so the movie’s air of consequence might be a bit misplaced, or overestimated.
As are the other action sequences in this bullet-strewn movie. The showcase set piece is a street chase through Prague, one that almost simulates the breakneck speed of a’s reliance on computer-made effects stifles the suspense some. Too often we can see the digital fuzz of a wisp of smoke, or the janky relationship between a human body and the green screen behind it.
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