Give the two of them some guns and shove ’em in a soon-to-be-totaled car, and the brawling and bickering should more or less write itself. On paper, the talent match-up would seem inspired: Even before his career-making work in “Deadpool,” Reynolds was always a dab hand with a one-liner, the rare leading man with an insult comic’s sensibility. Stuck in a downward spiral ever since, Bryce has a shot at career redemption if he can complete this “Midnight Run”-style mission, which he reluctantly accepts after he and Kincaid have made some obligatory attempts to destroy each other (acrimonious job history and all that).
That would be the bodyguard, Michael Bryce (Reynolds), who was once a top-of-the-line, Triple A-rated protection agent before he lost a high-profile Japanese customer (briefly played by Tsuwayaki Saotome) by the name of Kurosawa, which I guess makes Bryce his yojimbo. And so begins a race to get Kincaid from Manchester to The Hague, a journey all but paved with nasty Dukhovich henchmen bent on taking him out before he can reach the witness stand.Īfter a brutal street ambush that leaves several Interpol operatives dead and the camera lens splattered with blood, one surviving agent, Amelia (Élodie Yung, fine in a thankless role), decides the only one who can get Kincaid to safety is her estranged ex-boyfriend. Held in a Manchester, England, prison, he agrees to testify against a genocidal Belarusian dictator named Vladislav Dukhovich (Gary Oldman, chewing the scenery as if it were a nice stuffed bulbianiki) in exchange for the release of his also-incarcerated wife (Salma Hayek, having more fun than the rest of us). The hit - er, the assassin is Darius Kincaid, played by Jackson with his usual diabolical grin and his unrivaled comic mastery of everyone’s favorite 12-letter expletive. Space? It doesn’t have time for a space it barely slows down for punctuation.
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In the case of “The Hitman’s Bodyguard,” the studio’s preferred one-word spelling may actually be the appropriate one, given the hectic, dizzying speed of the movie in question. This is hardly the first time the decision makers of Hollywood and the copy editors of America have had to agree to disagree, as my memories of the epic hyphenation battles over “The 40-Year-Old Virgin” attest. Lionsgate’s posters declare the former the all-knowing Associated Press Stylebook, alas, dictates the latter.
No, not, “Why didn’t I take off the month of August? ” or “Why don’t fights like that ever break out at my local hardware store?” A question of a more technical nature: Is it “hitman” or “hit man”? Jackson and Ryan Reynolds, I found myself asking the kind of question the critic is occasionally forced to ponder after too many years steeped in Hollywood movies.
After stumbling out of “The Hitman’s Bodyguard,” an insanely violent live-action cartoon starring Samuel L.