A killer couple
A fun but silly buddy movie that squeezes in some philosophy and romance too
Samuel L. Jackson as hitman Kincaid, Ryan Reynolds as his bodyguard Bryce
the hitman’s bodyguard
15 Samuel L. Jackson, Salma Hayek, Ryan Reynolds, Gary Oldman ★★★★ The hitman’s Bodyguard sounds like it ought to sit alongside snakes on a Plane and Cleaner in Samuel L. Jackson’s enormous CV. In fact, this film’s offbeat humour elevates it to the action-comedy corner, somewhere between Kingsman and The incredibles.
We first meet Ryan Reynolds’ deadpan bodyguard, Michael Idris elba as Roland Bryce, as his career is shot down along with a highpowered client. He’s at his lowest ebb when an ex in the Secret Service forces him to escort Samuel L. Jackson’s inked-up assassin, Darius Kincaid, to Holland so he can testify in a war criminal’s trial and attain a pardon for his wrongly imprisoned wife, Sonia (Salma Hayek). If Bryce does his job right, he has a shot at regaining his ‘triple A’ protection status: everybody wins.
Although predictable, the clashes between Jackson’s gung-ho killer and Reynolds’ cautious protector create sparks. During their manic road trip to Amsterdam, they take jabs at each other with aggressively bad singing, and have wildly different experiences hitchhiking in a bus full of nuns.
The film even finds itself navigating moments of moral philosophy with Jackson’s assassin: “Who is more evil?” he asks Bryce. “He who kills evil motherf**kers, or he who protects them?” Adding a romantic edge is Kincaid’s obsession with relationships, allowing for some memorably kick-ass scenes by Kincaid and Bryce’s respective flames. Buried in the mix is a masterful Amsterdam chase sequence crammed with beautiful tracking shots and surreal humour.
The hitman’s Bodyguard is not a complicated film, but it remains constantly surprising thanks to its consistent refusal to obey generic rules. Larry Bartleet Stephen KING’S dark Tower series has long been considered ‘unfilmable’. With eight books, totalling 4,250 pages, it’s an enormous work of dense mythology and meta callbacks to the rest of King’s books. It can still be considered unfilmable, because this awful adaptation will likely baffle fans and newcomers alike.
Four screenwriters and director nikolaj Arcel have approached the problem of explaining the books’ complex plot by opting to explain nothing. We’re told that in the centre of the universe stands a tower protecting us from outside forces. An evil man (Matthew Mcconaughey with Zoolander hair and cheque-cashing eyes) is kidnapping children to power a tower-toppling weapon.
His search hones in on a troubled boy (Tom Taylor) who crosses over to the evil man’s world and teams up with a gunslinger (Idris elba) to stop him. We’re given none of the connective tissue to make sense of these elements. Instead, it rushes through scenes as if eager to be over as quickly as possible. Thankfully it is, within 95 minutes. Olly Richards
awful rushed baffling