Take “Commando” for instance, in which there were very few scenes of dialogue and more of action.Īs the film progressed, the action started to subside, making me feel uneasy with the plot’s direction. Personally, the film should have gotten rid of some dialogue in order to substitute it with action. I found this unusual since usually an action film does not move quickly from an action scene. In one scene, Henry Brogan, played by Smith, talks to Dani Zakarweski, played by Mary Elizabeth Winstead, about her job, and Henry later pops the question of asking her out after retiring from his job. Based on what I saw, the plotline had no depth which made the development of characters diminish. To begin, the plot was strange given that there was not a lot of action involved throughout the film, except for the beginning and the film’s climax. Despite its façade, the film gravely disappoints the typical viewer who wants a well-balanced action film and not a film that downplays on its essential elements.Īs the film progressed, the action started to subside, making me feel uneasy with the plot’s direction.įor those that do not want the plot spoiled, veer from this review. In his past films, Smith has done countless action roles that left the viewer wanting more, such as “Suicide Squad” or “I Am Legend.” Upon appearance, “Gemini Man” presented itself as the next “John Wick” film of the year, depicting the amount of action that was in the trailer. It does not store any personal data.Photo by Gage Skidmore via Flickr ( CC BY-SA 2.0).Īmong the many action stars that I wanted to see on the big screen, Will Smith was one that I had to watch. The cookie is set by the GDPR Cookie Consent plugin and is used to store whether or not user has consented to the use of cookies. The cookie is used to store the user consent for the cookies in the category "Performance". This cookie is set by GDPR Cookie Consent plugin. The cookie is used to store the user consent for the cookies in the category "Other. The cookies is used to store the user consent for the cookies in the category "Necessary".
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These cookies ensure basic functionalities and security features of the website, anonymously. Necessary cookies are absolutely essential for the website to function properly. Published as part of BAMcinemaFest 2017 | Dispatch 1. Katz is better at setting a mood than he is at orchestrating complicated plot points, and the film ultimately peters out, but it is a gorgeous bauble for awhile. Kravitz brings a checked-out sadness to Heather, and James Ransone is a clutch supporting player, as he was in Sean Baker’s like-minded recent LA-set indies Starlet and Tangerine. (Definitively announcing Gemini as a neo-noir exercise, Jill even makes herself over with bottle-blonde hair). The handsome drive-by shots of Hollywood streetlife and sumptuous slo-mo walks through a karaoke club do well to punctuate the stretches of mundane dialogue, like frustrated director Greg’s (Nelson Franklin) Scream-like rundown of potential suspects, or Jill’s utterly opaque behavior around detective Edward Ahn (John Cho). The atmosphere isn’t just vapid postcard prettiness, since the plot concerns troubled Hollywood starlet Heather (Zoë Kravitz), her personal assistant and friend Jill (Lola Kirke), and a sudden act of violence. While 2014’s Iceland-set comedy Land Ho!, co-directed by Martha Stephens, was a more severe geographical departure, Gemini affirms that the far staider Portland and Brooklyn settings of Katz’s previous films are now thoroughly in the rearview. Aaron Katz’s glossy, very surface-conscious mystery opens in high style with an upside-down shot of twilit palm trees, cool vaporwave beats easing the transition to additional moody images of crepuscular Los Angeles environs (Andrew Reed’s the DP, Keegan DeWitt did the music).
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