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The filmmaker Ang Lee has shown great interest in exploring the possibilities of technology in his latest works. With ‘Life of Pi’ he offered us an unforgettable audiovisual experience and in ‘Billy Lynn’ he changed his style to explore the psychological suffering of a soldier back home. Now he returns with ‘Gemini Man’ and exposes an actor to a younger version of himself generated by computer, a very succulent starting point.
It also does it in one of the few blockbusters of what we have in 2019 that does not belong to any type of franchise. One of those original ideas that some demand so much. On paper, it had everything to start a resurgence of action cinema with touches of science fiction completely away from superhero movies, but the reality is much less stimulating in a movie that we could qualify as failed at best.
One of the main hallmarks of ‘Gemini Man’ comes from Ang Lee’s decision to reuse HFR technology at 120 frames per second and in 3D. The public's view has been trained for a lifetime to assimilate the 24 conventional frames per second as natural, so, shockingly, the sensation of movement that the film transmits seems somewhat accelerated.
Sometimes it may even seem that everything moves in fast motion, especially in action scenes. In this way, the feeling of emotion is weighed down and even gives a somewhat annoying feeling of artifice, and it is a pity since Lee opts for a cleaner staging and with less assembly cuts so that one really finds out what happens and see the efforts to be spectacular.
On the other hand, during the scenes with less movement, it transmits a peculiar sensation, since little less than forces our brain to try to assimilate much more information than we are used to. In its own way, it is as if we were within a (little achieved) virtual reality story, because the photographic finish also moves away from that cinematographic reality to which we are accustomed to opt for an improper hyperrealistic luminosity of a production of these characteristics.
To a certain extent that may justify Lee's technical committee, but it is an element that one gets used to and that as the footage progresses is only striking because of that essential negative aspect mentioned earlier. What we have left then is a story that has been in development for more than 20 years -the first version of the script dates from 1997- and whose last review was carried out by Lee himself.
At the beginning of the story, one cannot avoid seeing in Will Smith a kind of alternative version of his character in ‘Suicide Squad’, the only thing that here serves the law enforcement. However, the age and the successive murders have been making a dent in him and he wants to retire. Being the best hitman they have at your disposal that would be a very sensitive casualty.
In doing so, one would find more holes than in a gruyere cheese, since every explanation we are given about that clone factory is not supported. It is simply an excuse for the adventure to move forward and bring the confrontation between Smith and his clone.
There it is limited by Smith's digital reproduction. Correct in open planes, but when you convey close emotion it feels too digital. The duplicate does not work out as well as one might wish, but at least there is a dynamic created between the characters that are approaching - without achieving it - to endow the story with eager humanity.
On the one hand, it may be that technology was simply not necessary to achieve the technical expertise required by a film like ‘Gemini Man’, but what really damages the final result is a script caught with tweezers in which too many people have gotten.