An action-thriller about a near-retiring hitman bathes in digital novelty to diminishing returns which exposing its hackneyed, anachronistic nature.
Alas, Gemini Man strs Will Smith in two roles in Ang Lee’s latest foray into 3D immersion of employing increased frame rates (like what was seen in The Hobbit).
For some Smith brought energy and freshness to the role of the blue genie in the recent large-grossing, live-action Aladdin, here he is in what could be considered a New-Age variation on his tow-decade-or-so ago picture with Jon Voight and Gene Hackman, Enemy of the State.
In this case Smith’s early middle aged Henry Brogan ( a preeminent global assassin with 72 kills among them a passenger in a speeding train) has to control a younger, prolific,personality-free clone (23 years old) of himself. Two years and 500 visual effects artisans made it happen as Henry undergoes a crisis of conscience and is targeted for termination. The demographic hero also looking forward to the reunion of Sarah Connor, son John and the T-800 (I’ll Be Back) coming from the same studio in lass than a month.
Clive Owen’s military mogul Clay Varris has fabricated this prolific junior in a sort of father/son way. Going rogue and being the target of the government turns out to be pretty unconvincing. While Owen revels in chewing the scenery, Henry’s on-the-lam partner Danny in the defense Intelligence Agency allows actress/singer Mary Elizabeth Winstead of The Spectacular Now to be as engaging as she can. While having enough green-screen bewilderment along with Benedict Wong’s Baron needed for the jet-setting to many picturesque locales.
Hopefully, the experience (like watching a slick recording of a small-screen production in a way) isn’t too harsh on the eyes and isn’t headache inducing. Then, what is often devoid in the dramatic, character and narrative department, can be enjoyed for the energy of its handwork amongst a slew of technicians.
Lee does offer eye popping moments whether a rooftop motorcycle chase in a distinctively hued metropolis of Columbia, and Smith is lensed remarkably well in ofBudapest’s historic castle district with the House of Parliament on the Danube in the background. Dion Beebe’s his acumen behind the camera also in the illuminating imagery of the Szechenyi Spa Baths while contrasting with caliginous catacombs prior to a climactic shootout in Georgia.
Though Gemini Man (from Varris’ pet-project) relates quite a cinematic legerdemain in some respects it ultimately feels like a facsimile of other more involving films from the late Tony Scott back in Smith’s heyday when he had fun taking on aliens and saving the world.