Still, Campbell and editor Angela Catanzaro were wise to let the fight scenes between these two play out so we can actually see the choreography, see the work they’ve put into these roles. And listening to the two purring at each other over drinks about the distinct sounds different handguns make does clang a little. We can tell he cares about her because he tells his beefy underlings to go easy on the waterboarding once they’ve captured her, albeit briefly. Their dialogue improves the mood significantly, but it also seems out of place within this violent, bloody setting. From the first moment she meets him, pretending to be a customer in her bookstore and effortlessly quoting Poe as a form of flirtation, the two share a banter that’s so light and zippy, it feels like it fluttered in from a totally different movie. Along the way, she gets tangled up with Keaton’s Michael Rembrandt, a ruthless fixer for a billionaire criminal who projects himself as a global humanitarian. When bad guys come after Moody, she must go after them. (Jackson, of course, can play this kind of foul-mouthed and irreverent character in his sleep.) But a reckoning for a decades-old death forces Anna to confront both her traumatic childhood and her cultural roots. At least, it's suggested that's what's supposed to happen here "The Protégé" never digs too deep en route to its abrupt ending. Jackson’s swaggering assassin Moody found her and forged her into the killing machine she is today. An opening flashback to 1991 shows us where she came from: Da Nang, Vietnam, where she was cowering in a closet, carrying a gun and surrounded by dead bodies when Samuel L. She also has impeccable taste in clothes, food and literature-the rare bookstore she runs in London is both an innocent front and her true passion -and she’s quick with a quip regardless of the situation. Anna is a highly trained contract killer who’s cool and efficient.
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