Name: Hitman's Wife's Bodyguard
Genre: Action, Comedy, Crime, Thriller
Released: 2021-06-14T00:00:00+00:00
Cast: Ryan Reynolds, Samuel L. Jackson, Salma Hayek Pinault, Antonio Banderas, Morgan Freeman

The opening sequence of Hitman’s Wife’s Bodyguard throws us headfirst into a chaotic shootout on a picturesque Capri rooftop, Ryan Reynolds‘ Michael Bryce dodging bullets in his pristine white suit. It’s a visual contrast that sets the tone for this sequel: loud, brash, and unapologetically ridiculous.

Director Patrick Hughes returns from The Hitman’s Bodyguard to deliver more of the same—an action-comedy that prioritizes spectacle over substance. The film’s premise is straightforward: Bryce teams up once again with hitman Darius Kincaid (Samuel L. Jackson) and his volatile wife, Sonia (Salma Hayek), to thwart a tech-savvy villain, Aristotle Papadopoulos (Antonio Banderas). The plot is a mess of cyberattacks, explosive bracelets, and European locales, but it’s the performances that keep the film afloat.

Reynolds and Jackson have undeniable chemistry, their banter sharp and timed to perfection. Reynolds’ deadpan delivery and Jackson’s fiery intensity create a dynamic that makes even the most outlandish scenes feel grounded. Their performances are a testament to their comedic chops, with both actors seemingly having a blast playing against type. Reynolds’ Michael Bryce is the consummate professional, his sarcastic quips masking a deep-seated sense of duty. Jackson’s Darius Kincaid, on the other hand, is a loose cannon, his unpredictable nature providing much of the film’s comedic fodder.

Hayek, meanwhile, steals every scene she’s in as Sonia, her charisma and physicality adding a much-needed layer of unpredictability. Her performance is a delightful mix of vulnerability and ferocity, with Hayek effortlessly balancing the character’s emotional depth and explosive temper. The dynamic between Hayek and Jackson is electric, their marital spats filled with genuine warmth and affection beneath the surface.

Banderas, however, is woefully miscast as the primary antagonist. His performance lacks the gravitas needed to make Aristotle a compelling villain, often resorting to exaggerated facial expressions and campy one-liners. Banderas seems uncomfortable in the role, his attempts at menace falling flat. The film’s other supporting players fare little better. Frank Grillo is serviceable as Interpol agent Bobby O’Neil, but his character is underdeveloped, serving little purpose beyond moving the plot forward. Morgan Freeman, meanwhile, is criminally underused as Bryce Senior, his presence felt more than earned.

The film’s action sequences are its strongest suit, with Hughes delivering some genuinely thrilling set pieces. A car chase through the streets of Florence is particularly noteworthy, blending practical effects with CGI in a way that feels dynamic and immersive. The shootouts are similarly well-choreographed, though they often rely too heavily on slow-motion and quick cuts to mask their lack of originality.

Where Hitman’s Wife’s Bodyguard falters is in its script. The Murphy brothers’ dialogue is often witty but frequently veers into cringe-worthy territory. The film’s attempts at humor—many revolving around Darius and Sonia’s tumultuous marriage—often fall flat, feeling more forced than funny. The plot, too, is a convoluted mess, with twists and turns that serve little purpose other than to pad the runtime.

The film’s pacing is another issue, with Hughes struggling to balance action, comedy, and character development. The runtime feels bloated, with several subplots—including Bryce’s strained relationship with his stepfather (Morgan Freeman)—feeling underdeveloped and tacked on. The film’s attempts at emotional depth—such as Sonia and Darius’ struggles with infertility—are half-baked, failing to resonate amidst the chaos.

Visually, Hitman’s Wife’s Bodyguard is a mixed bag. Hughes’ direction is serviceable, though he often relies too heavily on quick cuts and shaky cam to mask the film’s lack of cohesion. The cinematography is competent but unremarkable, with the film’s European locales serving as little more than backdrop for the action.

Thematically, Hitman’s Wife’s Bodyguard is a mess. It attempts to tackle issues like cyberterrorism and political unrest, but its treatment of these topics is shallow at best. The film’s attempt to blend social commentary with mindless action falls flat, resulting in a narrative that feels tonally inconsistent.

In the end, Hitman’s Wife’s Bodyguard is a film that knows exactly what it is: a mindless action-comedy designed to distract rather than engage. It’s a film for fans of Reynolds and Jackson, those seeking a few laughs and some thrilling set pieces.