The Russo brothers (Anthony and Joe) have been branching out since their massive success within the Marvel Cinematic Universe. Their latest, The Gray Man, debuted on Netflix this past weekend after a limited theatrical run. Based on the first novel in an ongoing series by Tom Clancy collaborator Mark Greaney concerning an ex-CIA operative, the film is intended to begin a new action franchise.
Ryan Gosling stars as Court Gentry. We meet him in the early ‘00s in prison where he has been incarcerated for murder since his teens. We soon find out that the circumstances surrounding his crime aren’t so black and white, though, when CIA handler Donald Fitzroy (Billy Bob Thornton) comes to visit. Fitzroy offers to free Gentry if the young man will agree to become a black ops agent. Of course, he accepts.
Flash forward to the present day and Gentry, now known only by the codename of Sierra Six, is on the job in Bangkok. Now working under the direction of Denny Carmichael (Rege-Jean Page) after Fitzroy’s recent retirement, Six takes issue with his new superior’s more ruthless methods. The job goes sideways, as is wont to happen in these types of flicks, and Six goes on the run. Freelance assassin Lloyd Hansen (mustachioed Chris Evans) is brought on to bring Six to heel. Violent and bombastic international escapades ensue.
The Gray Man’s script by Joe Russo, Christopher Markus, and Stephen McFeely is a little paint by numbers. If you’ve seen enough of these types of movies, you’ll know how it plays out for the most part. Despite this predilection for coloring within the lines, there’s some nice character work and the Russos keep the pedal to the metal, making for a briskly entertaining picture. The interplay between Six and Hansen also adds to the fun.
So yeah, Gosling and Evans make the picture. Gosling is stoic, but not without a sense of humor. Sure, he’s a lethal CIA badass, but there’s some humanity there. Ana de Armas also gives the picture some warmth in her turn as fellow operative with a conscious, Dani Miranda. Evans gets the flashiest role, though. He plays Hansen as an educated but sociopathic bro with a penchant for tight clothing and sadism. I enjoyed the hell out of his performance. Kollywood vet Dhanush makes an impression as the quietly capable Lone Wolf. Other pivotal roles belong to Jessica Henwick as Carmichael’s harried assistant, Callan Mulvey as Six’s target early in the film, Wagner Moura as a forger, Julia Butters as Fitzroy’s young niece, Shea Wigham as Six’s father, and Alfre Woodard as a retired CIA department head.
Cinematographer Stephen F Windon ensures that even though there aren’t any surprises with regards to story, there’s plenty of eye candy. The locales of Azerbaijan, Czech Republic, France, Croatia, and Austria make for dazzling backdrops to all the spy movie mayhem. It’s beautiful work, though not particularly stylish. That being said, there are a few flourishes, such as the sweeping sped up aerial photography used for establishing shots. Action is captured clearly for the most part, eschewing any frustrating shaky-cam nonsense. The editing by Jeff Groth and Pietro Scalia occasionally feels slightly jumbled in some of the more chaotic sequences, but it never makes for an uncertain watch. Fight scenes are relatively brutal for a PG-13 movie and are highly enjoyable. The Prague shootout/tram sequence is a total blast, if slightly over the top, and rates as my favorite part of the movie. At just over two hours, pacing is never an issue. It’s basically nonstop action from go.
The Russo brothers’ The Gray Man doesn’t really bring anything new to the table but it is nevertheless competently crafted and a fine popcorn muncher. It’s too bad that it didn’t get a proper theatrical release, as it’s the prototypical widescreen action flick. In any case, I was thoroughly entertained and I look forward to any potential follow-ups (a few threads are left dangling with sequels obviously being kept in mind). Recommended, with caveats, for fans of Commando, the John Wick series, and Daniel Craig-era James Bond films.
Michael Cavender