The Gray Man (2022) Review
“That’s why I’m sitting here in my own blood.”
Anthony and Joe Russo’s latest action-packed streaming vehicle, The Gray Man, is genuinely…alright. Starring Ryan Gosling, Ana De Armas, and Chris Evans – this powerhouse of a cast is able to elevate the generically lackluster screenplay into something that is, at least, worth a singular watch. Plus, though most of the action meshes together, there are two setpieces in particular that warrant this film’s existence in the first place. Where the Russos fail here are with an abundance of pointless plotlines, a film that feels intrinsically “small” when not showcasing spectacle, and a runtime that doesn’t justify this generic action endeavor. Though there are moments of excitability throughout, it’s a film that immediately starts sizzling away once the credits roll; unable to grasp at what makes classic action films so timeless in the first place.
Gosling plays “Sierra Six” – an ex-convict recruited by Donald Fitzroy (Billy Bob Thornton) to take care of the CIA’s more “incognito” operations. Two decades later, as the agency is going through changes, Denny Carmichael (Regé-Jean Page) takes matters into his own hands and decides to eliminate Six; putting an end to the “Sierra Project” entirely. Lloyd Hansen (Evans), a sociopathic mercenary, is put at the head of the taskforce to bring down Six; whatever actions necessary. What follows is a bunch of, mostly, muddled action sequences that though competent enough to do the trick – feel uninspired by the time the credits roll. Six and Fitzroy’s daughter, Claire (Julia Butters), form an unlikely father-daughter bond that genuinely contains the heart of the film – which is something that certainly requires more attention here. Butters, mostly known for her role in Once Upon a Time in Hollywood, is genuinely already a star at her age and she will inevitably find her footing within the industry soon enough. Gosling is able to play the casual, yet somewhat menacing, protector with such grace and it’s a shame the Russos weren’t able to highlight some more of these moments; or build that contrast in an effective manner at all. Evans feels incredibly ill-suited in this role – feeling more as if he has something to prove playing the antithesis to “Captain America” than actually doing the part justice. I understand the over-the-top nature is part of the character itself but it’s hard not feel as if Evans’ performance is forced in the first place. I do like the way he holds his gun though; I’ll give him that.
The action itself is the mainstay for the film and, even then, there’s only a couple sequences that truly stick out. The Russos are perfectly capable at directing action but the drop in quality is jarringly apparent every time there’s a heavy reliance on CGI. There are competent sequences here that are ruined due to this muddy look that takes over whenever the setpieces start to unnaturally expand. However, there is this one central sequence that is worth the price of admission alone (given you already have Netflix) that features a handcuffed Gosling as hordes of mercenaries and police make their way towards him in the center of Prague plaza. Indian actor, Dhanush, is a welcome addition to this film as well and his CQC sequences are delight to watch as they feature small-scale choreographed action that leave an impact. His character, however, faces a nonsensical arc that feels as if it was added as an afternote for no apparent reason. And, speaking of pointless arcs, Six’s “tragic” backstory in the film feels completely unnecessary and adds to the genericness of this entire endeavor. Armas does what she can here but there’s barely a character for her to work with; her fifteen minutes in No Time To Die leave a much stronger impact.
Overall, The Gray Man is a deeply middling action film that will probably give some dads an excuse to pass the time on a Sunday afternoon until they either fall asleep or watch John Wick instead. The cast does what they can here but the Russos continue to prove that their most successful endeavors lie in their sitcom work. And, just maybe, they might be the only directors in the world who actually prosper by adhering to a corporate formula. Either way, the duo continues to fail upwards as The Gray Man has been picked up not for a sequel – but for an entire cinematic universe. Whatever that means anymore.
