Sharpshooter assassin Henry Brogan is 51 years old. Time to call it quits, he figures, popping the 72nd kill of his career from what looks to be at least a mile away. Only Brogan can make a shot li…
Sharpshooter assassin Henry Brogan is 51 years old. Time to call it quits, he figures, popping the 72nd kill of his career from what looks to be at least a mile away. Only Brogan can make a shot like that. But his conscience is starting to catch up with him and now he’s going to retire, build birdhouses back home in Georgia, or whatever movie characters plan to do in their pension years. Seems like a waste of a very specific talent, but don’t worry.
A decade back, critics slammed James Cameron’s visionary “Avatar” for its screenplay shortcomings, although I felt at the time that the technology was so revolutionary that it actually worked to the film’s benefit that Cameron was basically retelling “Dances With Wolves” in space. With “Gemini Man,” Lee sets out to be every bit as radical, but his innovations overwhelm the experience.
Here’s one: Why would Brogan nearly call off the opening hit because a young girl approached his mark, but then pull the trigger anyway, knowing he was sure to traumatize her for life? And why, if it’s that easy for Brogan to get his spotter on the train, where he’s close enough to video-record the suspected terrorist’s death, doesn’t that guy take out the target? Each scene seems to present half a dozen freshly frustrating leaps of logic, to the extent that the movie’s big conceit — sending a...
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