From an idea that has been hanging around the film industry for many years, Gemini Man finally makes it to the screen in a high-octane adventure directed by Ang Lee, produced by Jerry Bruckheimer and starring Will Smith.
The story revolves around Smith’s elite assassin Henry Brogan, a fifty-one-year with his eyes of retirement. He’s the best of the best and is looking to hang up his assault rifles for good when he becomes the target of a hitman with all the intentions of taking him out. After being chased all over the world, from the sunkissed swaps of Georgia to the streets of Budapest, Brogan realises that the man after him is a younger, much more agile clone of himself who will stop at nothing until the gifted killer-for-hire is six feet under.
The premise for Gemini Man, as you can see from my brief recap above, is relatively simple. The best action movies don’t need the most intricate of plots and some can massively overcomplicate proceedings, relying on the gunshots and explosions to do all the talking. Gemini Man comes from the Jerry Bruckheimer stable and was once reportedly a project with Tony Scott involved, so that should tell you what to expect.
The action comes thick and fast, a strong opening scene introducing Smith’s character as he embarks on a daring sniper shot reminiscent from a Bond movie. Smith is, as you would expect, completely commanding in the central role, but his presence isn’t the thing that distracts you as soon as the movie opens; it is the HFR 3D+, Ang Lee revisiting some technology he first tested out with 2017’s Billy Lynn’s Long Halftime Walk. I am, quite frankly, torn by this new technology. The crystal-clear imagery is, I must admit, quite something to behold, but it is completely distracting.
There have been many arguments about motion smoothing, particularly on the smaller screen – Tom Cruise and Christopher McQuarrie have been very vocal in the past – and while Ang Lee and co.’s tech is very different and much more detailed due to the 120 frame per second thing, the same effect is evident – very video camera-esque – and I’m not sure if it suits cinema.
The action genre and event cinema is perhaps the place to have this new tech employed and the bike chase scene in Budapest in Gemini Man is truly breathtaking, aided by the new format. That particular scene is also one of the best action sequences we’ve seen all year too, but it’s sad to admit that the rest of the film doesn’t quite match its majesty.
Related: Gemini Man press conference highlights
The wafer-thin plot is problematic, there are some poorly acted scenes and an ending that leaves a lot to be desired – the CGI also seems to drop off here too, which is something that is left with you as you depart the cinema – a shame really, as most of what is presented previously is really excellently executed.
Smith is perfectly fine as our leading part and, for the most part, ‘Junior’ the 23-year-old version of his character, is also well designed and virtually flawless in its appearance for 90% of his screen time.
What I do love about the film Ang Lee’s and Paramount’s fearless approach. This is film that reportedly cost $130 million-plus and they’re using new technology that has, for the most part, not been employed before. While I’m not sure as to whether it’ll take off, it’s sure is something that will spark debate in the foyers of cinemas up and down the land once the film lands. Sadly it’ll be for its technological presentation rather than the average action film it hangs on.
Gemini Man is released in cinemas on 11th October.
