The Gunman: O Atirador

O que levou Sean Penn, de atuação e direção de Óscar de O Lado Selvagem, a estrelar como herói de ação numa coprodução com Joel Silver? Salário que outro ator de carácter, Liam Neeson, em tempos passados nem sequer podia sonhar e agora tem três deles num ano? The Gunman: O Atirador não quer ter estilo moderno, quer estar sujo e escuro, com um protagonista ambíguo e limpo. Pessoalmente, estou bem com essa direção, e também não tenho qualquer problema com o carácter de Penn. Pelo contrário, ele é a única coisa que torna o filme interessante e diferente dos seus irmãos de género, os quais, de resto, não ultrapassa em nada. O argumento parece ter sido escrito há vinte anos, na era de Jack Ryan de Ford (quando teria sido uma interessante «alternativa obscura» a ele). O mais importante é que se mantém desnecessariamente num enredo romântico que não é interessante para o espetador tendo em conta o enredo circundante. (26/03/2015)

A B-movie filmed as an A-movie. Sean Penn is incredibly fit for his age and the action scenes are some of the best of this genre, but there are too few of them and you can’t enjoy them properly when the hero starts keeling over prematurely due to brain damage. And when we’re on the topic of laying down, the romantic storyline with the love triangle seems like it’s been copied out of a textbook - reminiscent of French movies of the 70s. The acting aces (why does Bardem always have that look on his face?) are almost unused (Idris Elba made a more or less a cameo appearance) and Penn doesn’t put on a very impressive performance despite his damaged character. This terribly average story with such realistically unpleasant characters was probably impossible to save. And the shamelessly stilted finale was impressive only for the location. It’s one of those unshocking, but uninspiring movie that you might watch on TV, but paying to see it at the movie theater would be a waste of money. Both Morel and Penn can do better. (21/03/2015)

As long as I tried to connect Rambo-like amicable repentance, financial tricks, empty love triangles, and Jim's own past, The Gunman held my attention with one hand and cut off branches with more and more characters with the other. But after leaving the cinema, the impressions of the action disintegrate into mere contemplation of how Sean Penn can pump up muscles like this after fifty and why Idris Elba appeared only when the film was almost ending. Unfortunately, Pierre Morel is also a man worth shooting, who proves that 96 Hours was the peak of his career, after which he is merely going downhill. (18/03/2015)

Something between Payback and Blood Diamond. There's the same politics and disputes over a country's mineral wealth, as well as a love triangle that doesn't quite work and is rather secondary. Maybe it's not as romantic or grand, but I don't expect any wilderness from Pierre Morel, rather a story that has pace and doesn't bother with unnecessary digressions that would hinder quality action – and that's exactly what I got. I haven't seen Sean Penn this loaded before, and it's quite nice, with dynamic, proper and well edited action and an excellent final fight. I wouldn't hesitate to say it's a solid addition to the genre. Definitely nothing new what do you really expect from Morel? (21/03/2015)

I'm satisfied. Gunman is a decent action genre film, not bringing anything new, but it's great to watch thanks to the perfect cast, the solid R-rated action, the nice location and an interesting story. The only thing I would criticize is that the film doesn't maintain a nonstop adrenaline pace and lacks a decent twist, but there is no danger of boredom. The final knife duel and the disposal in the building is a treat, and Sean Penn is excellent here. Definitely only for fans of the genre, let the others polish their balls with Birdman. 75% (21/03/2015)