Netflix's TheGrayMan proves that the Russo brothers don’t need superpowers to turn massive budgets into mush. JacobOller's review:
The Gray Man
shakes off that reactionary impulse and retreats back towards half-assed adequacy, where the misanthropy is the safe and bankable kind that just racks up a bullet-ridden body count. There are probably more words in the movie’s globetrotting title cards than in its hero’s dialogue, and Evans brings as much to his porn-stached heel-turn as to his milk-chugging Boy Scout Captain America.
Intentionally obtuse camerawork documents Six’s adventures. The Russos will obscure a fight scene with anything: Fireworks, flare gun smoke, power outages, the early glare of dawn. A ridiculous freefall sequence looks, even when not compared to its exhilarating peer in, like Spirit Airlines flushed a GoPro. It’d almost be impressive if you ever thought it was intentional.
At the heart of it all is a wannabe maximalism that lacks the ability to pull it off and refuses to give into the silliness that style demands. It won’t or can’t getnutty, instead valuing the façade of realism. But its budget is spent on artifice.
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