dir: Joe Carnahan
Ugh. No-one told me there would be any Mel Gibson in this. Should have checked beforehand.
Nothing good comes from having Gibson in your flicks any more. At least they’ve abandoned trying to “redeem” his heroic image, and just have him playing awful villains, like we now know he is in real life.
No, the hero here is played by Frank Grillo. Grillo looks like some of the guys I went to high school with, crossed with the kinds of guys you see hanging around the front of protein supplement selling places. Also, they’re often smoking when they do that, and, these days, you also see them at the front of anti-lockdown, anti-vacc protests, complaining about what the government is making people put into their bodies.
Grillo usually plays villains in stuff, most recently in the Marvel monstrosities, but even though he looks like the kind of guy who’d fuck your grandmother, they sometimes put him forward as a heroic type.
I don’t buy it. And here he’s the front and centre hero, and we’re meant to believe he wouldn’t punch a baby penguin in the face?
This is the most recent in a long line of Groundhog Day variations, with more of an action / blow-uppy emphasis. There are more variants of Groundhog Day than there are of the coronavirus, and the action ones are something of a Delta variant, one could say. Edge of Tomorrow was probably the best of the action-y ones, but that can’t stop people from trying again and again, unfortunately.
This one not only has a sci-fi explanation for what’s happening, it uses the aesthetics and concepts of ye olde video games as well. For a long while I thought what was actually happening was that a character, being the hero, was realising somehow that he was a character in a video game, repeating the same sequences and facing the same enemies game after game after game. As trite as I thought that was while watching it, when it’s revealed that the character and this artificial seeming, flat yet cartoony world is actually the “real” world, and the generic hero with the square jaw and the generic backstory is meant to be a real person fighting ‘real’ assassins with swords and helicopter gun ships and such I thought “Somehow that feels even more fake”.
Roy’s days are numbered as “attempts”, and they all start at 7am with an assassin’s machete narrowly missing his head. He kills that guy, and then has to survive something with a helicopter, and then goes out into the world, and more people try to kill him, and he searches for meaning.
He survives up to a certain point, dies, and repeats. If he forgets his timing at any stage, he dies early. Doesn’t know what’s going on, doesn’t know how to enquire about his existence or vary things significantly. Or at least that’s what he keeps telling us, because the fucking voiceover narration never fucking ends.
He remembers previous things, or starts sussing out other elements of what might be happening, but of course it’s within the format of a flick where he’s only going to finally solve things with the final playthrough, so to speak. Like all these Groundhog Day ripoffs, the point is generally about a shitty person realising there’s more to life than being shitty, and so they learn all they can about the people around them, learn to be helpful and selfless, and then become enlightened or something.
Roy has to realise that he knows very little about Egyptian mythology, or quantum physics, or sword fighting, and only through mastering those will he be able to kill Colonel Fuckface (Mel Gibson) and his goons.