Realização:
Patrick HughesArgumento:
Tom O'ConnorCâmara:
Jules O'LoughlinMúsica:
Atli ÖrvarssonElenco:
Ryan Reynolds, Samuel L. Jackson, Gary Oldman, Elodie Yung, Salma Hayek, Richard Price, Richard E. Grant, Rod Hallett, Yuriy Kolokolnikov, Noortje Herlaar (mais)Streaming (1)
Sinopses(1)
O maior assassino profissional do mundo decidiu sair da sombra e testemunhar contra o seu antigo patrão no Tribunal Internacional de Justiça em Haia. No entanto, este não foi um patrão qualquer, mas sim um corrupto e mortífero ex-Presidente de um país de Leste, que tem ao seu dispor um enorme exército de mercenários capazes de tudo para impedir que a testemunha apareça no julgamento. Para se defender, este ex-assassino contrata o mais famoso guarda-costas do mundo, e juntos terão de pôr de lado as suas diferenças e cooperar para conseguirem chegar a tempo ao julgamento. (NOS Lusomundo Audiovisuais)
(mais)Vídeos (17)
Críticas (13)
Humor bastante artificial, menos engraçado do que seria de esperar. Mas habituámo-nos e funciona melhor no último terço. Tal como a química entre Samuel e Ryan, que precisaria duma direção mais sensível. O Guarda-Costas e o Assassino quer ser uma comédia brusca e fixe, mas vira-se para a arrogância superficial (como os piores momentos de Bay). O carácter de Salma Hayek é o que mais sofre com isto, e ela também tem um elenco pobre. A ação é abundante, e decentemente barulhenta. O mais agradável foi Amesterdão, em cujas ruas não a vemos com frequência.
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If I were twelve years old and saw this movie on basic cable on a Saturday night, I would be thrilled. But I’m not twelve anymore and I saw it at the cinema. Shane Black, who fundamentally influenced the form of modern buddy movies, understood that if you want to make movies like Lethal Weapon today, you can’t take either yourself or the film seriously (see the third Iron Man and The Nice Guys). There are tendencies toward self-awareness in The Hitman’s Bodyguard (though there is sometimes a very fine line between “it’s terribly stupid, you know it’s terribly stupid, and we know that you know” and simply “it's terribly stupid”), but the film handles them terribly inconsistently. Besides the almost parodic scenes (the apocalypse is unfolding behind Michael while he calmly continues his monologue) there are moments of simple exaggeration that are supposed to be touching or, in the worst case, to tell of pseudo-fictional war crimes (given the context, I found the storyline with Dukhovich to be rather tasteless). The characters suffer from the same identity crisis. They sometimes behave like people educated by genre clichés, but in a number of other respects, they just predictably follow conventions and make stupid mistakes. The narrative repeatedly loses momentum due to the unsuccessful attempt to humanise the two characters through their relationship with the dear better half and a more or less serious explanation of how they became the people they are (the flashback to Darius’s first murder, for example, is simply out of place due to its reverent tone). This constant relationship-counselling philosophising, even in moments when the protagonists are clearly short on time, is not skilfully integrated into the ongoing action and serves only to extend the runtime – the main storyline grinds to a halt so that the men can wallow in their feelings and whine a little. The pace is thus fairly uneven and the film seems to be much longer than it actually is. The level is raised significantly by the long action sequences in Amsterdam and The Hague, which have the appropriate verve and wit, even though they are horribly edited and don’t really move the narrative anywhere (well, except when the characters move from one place to another). But then comes the haphazard (in terms of special effects, the screenplay and the acting) final act, which basically negates the preceding hundred minutes (in the end, everything is resolved in a completely different way than what the story had been leading up to the whole time) and the whole film goes steeply downhill. The Hitman’s Bodyguard could have been an excellent high-concept action movie with a pair of charismatic actors (of which Jackson is the dominant force in the film) and a ’90s feel, if it didn’t so clumsily defend its overwrought B-movie nature and add importance in a way that takes all of the fun out of it. 50%
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It hasn’t happened to me in a long time that after watching a movie I would feel that I just saw two different halves of an action comedy that were really different in terms of quality. My excitement over a new action comedy gradually faded as I was watching a story taking place in London that wasn’t too funny and in which the pair (Samuel L. Jackson and Ryan Reynolds) couldn’t seem to manage to tune in to the proper buddy-comedy wavelength. It took a long time and for a moment I felt that I wouldn’t manage to watch it to the end. For instance, Selma Hayek is so incredibly unfunny in this one and she didn’t fit in her role so much that it was nothing but embarrassing. But about an hour into the movie, something incredible happened. The movie relocated to Amsterdam and it not only turned into a whirlwind of action, but it got pretty entertaining as well. Samuel and Ryan literally found one another and they started shooting catchphrases at each other. In the end, I was so excited about the second half that I had to watch several scenes again. How is it even possible that one film could create so many different emotions?
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I like movies like this a lot, and there hasn't been a classic action buddy comedy in a long time (no, The Nice Guys is not a classic action buddy comedy), so I was quite excited. And left the theater pretty disappointed. The Hitman’s Bodyguard always manages to score a few points on something, but after a while it trips over its own feet. Patrick Hughes does come up with and shoot some good action scenes, and a couple of them are excellent, but all of them are accompanied by completely inappropriate and ultimately annoying music. Samuel L. Jackson enjoys his role exactly as one would expect, but, unfortunately, Ryan Reynolds is usually next to him playing a depressed, boring and annoying buffoon. For a while it seems like an easygoing and funny film, only to switch at some points into a rather depressing and unnecessarily serious one. Well, the result is a mess that sometimes goes excellently, sometimes terribly and mostly kind of mediocre. After its clever and successful marketing, I expected a lot more.
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An excellent action comedy that has all the necessary attributes to become a successful and quality film. The leading duo with the again diabolical Samuel L. Jackson and the Deadpool-like Ryan Reynolds are brilliant, but the villain Gary Oldman also excels, albeit with less space, but solid work nonetheless. As for the action, it's exactly the kind I like, that is to say, properly brutal, very clear, there's no shortage of fights and shootouts, and there are chases too, so in that respect you really can't complain at all, and on top of that there's plenty of it. When blood is not spurting or corpses are not falling, there’s space for the humour, which is properly foul and cheeky. It will not tear up your diaphragm, but you will have a smile on your face throughout the film. Story-wise, it's not downright bad either, so in the action-comedy rank for me a deserved number one this year. I had an incredibly good time. 90%
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