The Gray Man: A $200 Million Misfire That Feels Like a Cash Grab
The Russo Brothers, renowned for their blockbuster hits like Avengers: Endgame and Avengers: Infinity War, are back with The Gray Man, a Netflix action thriller boasting a star-studded cast, a hefty budget, and all the elements that suggest a home run. With Ryan Gosling, Chris Evans, Ana de Armas, and Regé-Jean Page at the helm, the film promises explosive action and captivating intrigue. However, while initial expectations are high, The Gray Man quickly devolves into a chaotic and underwhelming spectacle that showcases the pitfalls of big-budget filmmaking gone wrong.
Big Budget, Small Story
The film’s script, written by Christopher Markus and Stephen McFeely, the duo behind the Avengers films, feels surprisingly thin. The narrative revolves around Courtland Gentry (Gosling), a former convict turned CIA assassin known as Sierra Six, who stumbles upon a conspiracy and finds himself on the run from his former employer. Denny Carmichael (Page), the new head of the CIA, sends the psychotically-charming Lloyd Hansen (Evans) to hunt down Six, setting off a global chase that takes them from Bangkok to Prague, with a brief stop in Vienna, London, and numerous other exotic locations.
While the globe-trotting story might sound intriguing, the film’s pacing is frantic, leaving little room for character development or meaningful exploration of the themes. Each location simply becomes a backdrop for the next high-octane action sequence, with the plot jumping from one chase scene to the next without any real sense of purpose or direction. The result: a relentless barrage of explosions and gunfire that lacks the emotional punch and satisfaction that the Russos have delivered in the past.
Star Power Lost in the Shuffle
The film’s biggest failing stems from its handling of its talented ensemble cast. Ryan Gosling, typically known for his nuanced performances, is reduced to a stoic, one-dimensional action hero, devoid of the charm and charisma that defines him. His stoic demeanor, seemingly inspired by his role in Drive, feels out of place and underwhelming. Chris Evans, on the other hand, leans too heavily into the campy villain trope, creating a performance that feels uninspired and pales in comparison to his memorable turn in Rian Johnson’s Knives Out.
The rest of the supporting cast, which includes the likes of Ana de Armas, Jessica Henwick, and Dhanush, are similarly underutilized. Their characters lack depth and their involvement feels perfunctory, highlighting a script that prioritizes plot over characterization.
The Pitfalls of Spectacle
The Russos’ attempt to compensate for the script’s shortcomings through spectacle backfires. The action sequences, while often technically impressive, lack the creative flair and impact that define their previous work.
The film’s overreliance on CGI and chaotic editing makes it difficult to follow the action, and the frequent use of drone shots, reminiscent of Red Notice, feels uninspired and repetitive.
The result is a sensory overload that overwhelms the audience with noise and visual clutter, leaving little room for genuine suspense or emotional connection.
One particularly baffling scene takes place in Prague, where a seemingly apocalyptic battle ensues in the middle of the city, but the movie fails to even hint at the repercussions of this massive-scale destruction.
The Gray Man: A Missed Opportunity
The film’s biggest sin is its wasted potential. The Gray Man is an exercise in expensive-looking mediocrity. It feels less like a thrilling action film and more like a marketing campaign for a sequel that never quite materialized. The focus on visual spectacle, at the expense of character development and a compelling narrative, ultimately leaves the audience feeling empty and unfulfilled.
While the Russo Brothers have previously demonstrated their ability to deliver both spectacle and heart, The Gray Man falls flat, serving as a reminder that more is not always better.
