Role Play: A wasted chance at a thrilling suburban spy romp

The moment Kaley Cuoco’s Emma pulls out a gun mid-hotel role-play with David Oyelowo’s Dave, Role Play (2023) should kick into high gear. Instead, it stumbles—a missed opportunity to lean into the absurdity of its premise: a suburban mom by day, assassin by night. Directed by Thomas Vincent and written by Seth Owen, this action-comedy squanders its potential with a script that can’t decide if it’s a rom-com or a spy thriller.

Cuoco is serviceable as Emma, balancing domestic life in New Jersey with high-stakes hits. She brings a certain charm to the role, particularly in early scenes where she juggles motherhood and her secret profession. However, her performance lacks the depth needed to make Emma’s internal conflict truly compelling. The film never fully explores the moral weight of her double life, leaving Cuoco to rely on broad comedic beats rather than nuanced drama.

Oyelowo, however, feels miscast as Dave, her clueless husband. His performance lacks the comedic timing needed to sell their strained marriage, and his reactions to Emma’s double life are more bewildered than engaging. The chemistry between them is tepid at best, a critical flaw for a film hinging on their dynamic. Oyelowo’s Dave is supposed to be the heart of the story, but he comes across as passive, making it difficult to root for him or his relationship with Emma.

Where Role Play falters most is in its pacing. The first act drags as it sets up Emma’s secret life, while the second act rushes through the fallout of Dave discovering her profession. A tense hotel encounter with Bill Nighy’s Bob—a fellow assassin—is one of the few standout moments. Nighy brings a wiry intensity to the role, making the most of his limited screen time. His interaction with Cuoco crackles with tension, offering a glimpse of what Role Play could have been if it committed to its darker elements.

The action sequences are competently shot but lack creativity. A foot chase through Berlin feels lifted straight from a B-movie checklist, and the climax in a forest compound is messy, with too many characters crammed into the frame. The film’s tone never settles, swinging wildly between slapstick humor and grim stakes without committing to either. This tonal whiplash is evident in scenes like Dave’s interrogation by the police, which is played for laughs despite the seriousness of the situation.

The supporting cast fares better than the leads. Connie Nielsen as Gwen Carver, an ITIC agent hunting Emma, brings a steely presence to her role. She’s a compelling antagonist, but her screen time is limited, leaving her arc underdeveloped. Rudi Dharmalingam as Raj, Emma’s handler, gets the film’s best line—“You’re not just a mom, you’re a killer”—but his arc ends abruptly, cutting short any potential for deeper exploration of their relationship.

The film’s biggest sin is its lack of originality. It borrows heavily from Mr. & Mrs. Smith (2005) and Red Sparrow (2018), but without the wit or tension that made those films work. Role Play fails to carve out its own identity, relying instead on familiar tropes and underdeveloped characters. The premise has potential—especially with Cuoco’s star power—but the execution falls flat.

Thematically, Role Play touches on the struggle between personal fulfillment and societal expectations, particularly for women. Emma’s secret life as an assassin is a metaphor for the pressures faced by working mothers, who often feel torn between their careers and family responsibilities. However, the film never fully commits to this theme, treating it more as a plot device than a substantive exploration of identity and sacrifice.

Visually, Thomas Vincent’s direction is unremarkable. The cinematography is functional but lacks distinctive flair, with static shots dominating the action sequences. The score is equally forgettable, failing to elevate the film’s emotional beats or heighten its tension. Even the film’s production design is uninspired, with generic suburban and urban settings that do little to enhance the story.

Role Play’s target audience is unclear. It’s too dark for traditional rom-com fans and too lighthearted for action-thriller enthusiasts. The film tries to straddle multiple genres but ends up pleasing none of them. This genre confusion is evident in scenes like Emma and Dave’s hotel role-play, which starts as a humorous attempt at rekindling their passion but quickly devolves into a convoluted plot point.

The film’s marketing campaign, which leaned heavily on Cuoco’s star power, promised a witty, action-packed romp. However, Role Play delivers neither the laughs nor the thrills it advertises. The humor is hit-or-miss, and the action sequences are lackluster, leaving viewers with a sense of disappointment.

In the end, Role Play is a competent but forgettable film. It’s well-acted in parts and visually serviceable, but its lack of originality and tonal inconsistencies hold it back from greatness.