And yet here we are, slowly shuffling back into theaters after months and months of pining for something,to see on a big screen again, and we’re greeted by another chapter of what now seems to be a franchise. Once again, Reynolds’ exasperated “executive protection agent” Michael Bryce tries to get his career and life back on track. Once again, Samuel L. Jackson’s killer-for-hire Darius Kincaid messes up those plans for him.
Many disposable, interchangeable bad guys get shot. Some exotic locales whizz by. There will be boob jokes. Once again, Reynolds and Jackson end up bickering a lot and saving each other’s lives, things blow up real good, and Jackson says “motherfucker” twice as much as he did in the original. Once again, you may find yourself wondering, even as a fan of both of these actors and of action movies in general, why the hell you’re watching all of it.
There’s a single wild card in this deck, and that’s Hayek. Her character was peripheral in the first movie, someone designed to motivate Jackson’s assassin to cooperate with the authorities. She was also a badass, and the sort of take-no-shit barroom brawler that made an ideal life partner for a hitman.
While Australian director Patrick Hughes has logged hours making modest, tense cop thrillers and overblown, big-budget franchise stuff , you don’t get the sense that he’s doing much in thesemovies except pointing his camera at his stars and stunt teams and crossing his fingers. Other than staging silent carnage while some ironic song plays over the soundless fury, he doesn’t offer anything resembling style onscreen; it might as well be stock footage up there.
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