The most difficult thing when the path of impartiality has been chosen and traced for so long is to come across something that is genuinely good on the one hand and painfully bad on the other. How to weigh such a dividing contrast? If a film is so aware of what it is, with indications that it knows of its complete lack of depth, what would be the best way to approach such a film? Watch now Gemini Man and find out.
The truth is that the story of Gemini Man, which took more than 20 years to find the best way to be worked on for the cinema, seems to be delivered in a tone that appeals to a cafÃ © nice typical of the shallowest action clichés and with such a prologue. extensive and empty that is saved only by the magnetism of the protagonist and by the use of technology promoted by Ang Lee (from As Aventuras de Pi, 2012). As if that were not enough, this same introduction - which lasts for almost the entire first hour of the film - takes on even more cheesy contours, such as the lament of Henry Brogan (Smith) when he says that he cannot look in the mirror and the romantic mezzo interaction between him and Danny (the always charismatic Mary Elizabeth Winstead).
Obviously, this question of seeing oneself becomes central in the film after the appearance of Junior (the youngest Smith), but nothing deepens in that sense. The script by David Benioff (from X-Men Origins: Wolverine), Billy Ray (from Operation Overlord) and Darren Lemke (from Goosebumps: Monsters and Chills), in fact, can give the impression of being too dense with his melodramatic forays that they force an emotional charge practically nonexistent. It seems that nothing closes: the situations, dialogues and twists so predictable. The paternal speech of Clay Verris (Clive Owen), for example, as well as the whole situation that surrounds him, may be capable of causing shame on the part of even the most resistant spectator - so much so that his quick death is not felt at all.
In contrast, Gemini Man implies that there is more to the purpose of visual innovation than to immersion of better narrative quality. At this point, Lee's competence as a director is fundamental, given the influence of technology in said immersion. This is because there is an incessant search for fluidity, be it during a common change of plans and or angles or in the dissolution of cinema's own language. In the latter case, they can be very clear - much more for gamers - that the basis of forays into action and, especially, in first person appearances are games that seek reality as an ally.
In this respect, Junior's first appearance can be as intense as it is strange. While the innovative technology manages to conceive a Will Smith much younger and with a real appearance, the action, when looking for the reality, comes up against a game aesthetic. And there is an explanation: even if Lee made the film at 120 frames per second and in 4K - that is: for the human eye to capture 120 static frames per second and have the illusion of more agile movement, cinema has agreed as a standard the 24 frames per second, in a game, the standard has been 60 fps, which is the exact rate at which Gemini Man manages to be shown in some countries, watch online the movie to experience this image velocity.
Gemini Man can become a game changer and, therefore, cause some discomfort when thinking about the present. How did Lee, responsible for such narratively intense films, embark on this story? Perhaps the future will answer and, in short, this film in question may give its director an adjective that has been so badly used lately, but that would fit well depending on time: visionary.