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The title of Mark Greaney’s novel The Gray Man (first in a best-selling series) refers to a quality that is as desirable for a spy as it is difficult to find in contemporary movies about their exploits: the ability to move through the world without being noticed, so unremarkable that those you interact with forget you as soon as you’re out of the room.
That ethic barely makes it into Joe and Anthony Russo’s stylish, supersized Netflix adaptation, whose hero (Ryan Gosling) wears attention-grabbing clothes and attracts the kind of mayhem that shuts entire cities down (not to mention being so handsome that the spooks in a John le Carré operation would never let him out in the field.) A side character expounds on the value of blending in, but even he wears one-in-a-million facial hair and lives in a building designed by Friedensreich Hundertwasser,...
The title of Mark Greaney’s novel The Gray Man (first in a best-selling series) refers to a quality that is as desirable for a spy as it is difficult to find in contemporary movies about their exploits: the ability to move through the world without being noticed, so unremarkable that those you interact with forget you as soon as you’re out of the room.
That ethic barely makes it into Joe and Anthony Russo’s stylish, supersized Netflix adaptation, whose hero (Ryan Gosling) wears attention-grabbing clothes and attracts the kind of mayhem that shuts entire cities down (not to mention being so handsome that the spooks in a John le Carré operation would never let him out in the field.) A side character expounds on the value of blending in, but even he wears one-in-a-million facial hair and lives in a building designed by Friedensreich Hundertwasser,...
- 7/14/2022
- by John DeFore
- The Hollywood Reporter - Movie News
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