A by-the-book sequel to a film that was already putting in its unoriginality, Patrick Hughes’ The Hitman’s Spouse’s Bodyguard gives many explosions, chase sequences and bits of naughty dialogue that might barely register as humor in the event that they weren’t being delivered by a few of Hollywood’s most charismatic stars.
The one sensible factor the movie does is promote Salma Hayek, because the eponymous partner of Samuel L. Jackson’s hitman, from the small however scene-stealing function she performed within the first movie. Maybe admitting that the unique’s pairing of Jackson with Ryan Reynolds (the bodyguard) resulted in one thing lower than basic buddy-pic chemistry, Hughes and firm make Hayek’s foul-mouthed brawler an equal accomplice. Whereas the teamup nonetheless fails to change into greater than the sum of its components, a minimum of we are able to recognize Hayek’s enthusiasm for the over-the-top function.
The Hitman’s Spouse’s Bodyguard
The Backside Line
Let it flop, lest we get ‘The Hitman’s Spouse’s Child’s Bodyguard.’
Although he appeared certain for a comeback when the final pic ended, Reynolds’ Michael Bryce continues to be washed up as an elite bodyguard, his prestigious triple-A score misplaced after he let a zillionaire shopper get killed. (As earlier than, it’s by no means clear whether or not the script desires us to purchase into the foolish notion of a bodyguard-vetting entity or simply snigger it off; however as with a number of different doubtful jokes, they repeat the reference typically sufficient that one assumes they assume it’s a side-splitter.)
Bryce struggles by way of this profession disaster in remedy periods with a shrink who’s sick of him. Brushing him off finally, she declares he has “graduated remedy” and should take a sabbatical: unique trip, no bodyguarding, completely no weapons. Bryce embraces the concept, solely to have his lounge time on the island of Capri interrupted by an enormous firefight instigated by Hayek’s Sonia Kincaid. Seems the Mafia has kidnapped her husband Darius, and Bryce is the one one they belief to assist rescue him.
A giant quest, you would possibly assume. However given how rapidly they free Darius, it hardly even counts as an excuse to get the crew again collectively. The movie cares extra in regards to the nefarious schemes of a third-rate Bond villain performed by Antonio Banderas: Aristotle Papadopolous is a tycoon who, indignant on the European Union’s therapy of his homeland, plots to destroy all of the EU’s infrastructure and return Greece to its place on the middle of civilization.
Bryce and the Kincaids quickly get roped into makes an attempt to foil Papadopolous, working with an American Interpol agent (Frank Grillo) and a personality (Morgan Freeman) whose identification the filmmakers would most likely like to stay a shock. There’s some enterprise with a suitcase full of cash, a bomb locked to Sonia’s wrist and makes an attempt to weasel their method into Papadopolous’ internal circle. (Ought to we point out that Sonia is now recognized as a globally infamous con artist, even though the final movie stated she was a cocktail waitress, rescued by Darius from a dive bar in Mexico? Perhaps a deleted scene connects these dots.)
All of the boilerplate spy stuff offers for the requisite motion sequences, on which no expense has been spared. However the movie’s humor, corresponding to it’s, isn’t amplified by all this mayhem. Pondering of locations the place laughs come not from dialogue or perspective however motion, what come to thoughts are a number of items of intimate bodily comedy that might have labored as effectively (higher, in reality) in a movie with no pyrotechnics funds in any respect.
Reynolds, as an illustration, makes probably the most of Bryce’s discomfort along with his companions’ sexual appetites: Sonia has determined she will be able to’t wait to begin a household, and hops on Darius at each alternative. Banderas earns some snickers by enjoying it straight whereas carrying the outré wardrobe of a would-be supervillain. Hayek and Jackson, for his or her components, could make delivering strains of dialogue a bodily occasion. And it’s a very good factor Hayek’s animated outbursts command our consideration, since Hughes is so busy making an attempt to direct our eyes towards her cleavage.
Screenwriters Tom O’Connor, Phillip Murphy and Brandon Murphy show little interest in how credible characters — even cartoonishly exaggerated comedian ones — would possibly actually behave underneath circumstances like these, which wouldn’t be so dangerous if the film had been funnier. However its occasional laughs drown in a sea of action-comedy tropes which were stale for many years. These actors deserve significantly better, and so do their followers.