In Defense of "The Gray Man."

From the Russo brothers, directors of epic cinematic features such as Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame, comes a new thoroughly action-packed espionage thriller. This film is, indeed, action-packed with grittier sequences. Presumably, the Russo Brothers have been itching to get their directorial hands-on grittier action throughout their time delivering family-friendly, albeit epic, action sequences in the Marvel universe. In some ways, the action in The Gray Man may be a culmination of experience and imagination between the Russo Brothers and their experienced crew.

It has become convenient for critics to describe the film as “gray,” thinking it’s a clever and accurate description; This is an easy cop-out of a first impression that was hand-fed to critics who walked away from the film feeling like they haven’t seen anything new. To be fair, a lot, but not all, of the film relies on reused tropes to drive the story.

Here’s the thing: reused tropes are literally what define genres. They’re called genre codes. While each story is not the same, you, as a viewer and audience member, can pick out some traits and descriptors you would use to describe and then label the film as an “espionage” and “action” “triller.” That’s great; it means the story is being told according to a set of conditions recognizable to audiences.

The in-between, and the performances, add flair and individualization to an otherwise generic (see that root word) story. That is what makes The Gray Man compelling and entertaining. The film’s pace keeps moving interestingly, adding dynamic characterization in fight choreography and collaboration between actors and directors. Sure, the covert operations are dropped very early on. The action, conducted under the wing of black operations with the CIA, is so overt that it toes the line between espionage-thriller and pure action. That may be what seems so off-kilter to some critics, while audiences are more likely to go with the flow of pure escapist entertainment.

To a trained cinematic eye, the lack of espionage-genre simmering tension in favor of jet-setting, explosive action goes against the grain of expectations, leaving a few questions and reconciliations to be made in the critic’s opinion. That’s fine; that’s the job. But instead of labeling the film as “gray,” i.e., “lackluster,” “in-between,” and “uninteresting” are not accurate. If you can live with the fact that The Gray Man is first and foremost an action movie set within the world over covert CIA black-ops, then you’re already a step closer to the Russo Brothers’ ethos than some critics. Let’s not forget that the Russos did try to turn a more dramatic hand with last year’s Cherry starring Tom Holland, who plays a veteran navigating debilitating PTSD… and was not well received by audiences or critics.

A talented cast makes the film emotionally investing. Chris Evans is having a ball veering away from the morality of his character Steve Rogers in the Marvel Cinematic Universe. Good for him. He plays intriguing, sadistically funny villains. That sense of humor, undoubtedly, comes from his Bostonian roots, and he plays it to his advantage well. Ana de Armas reunites with Chris Evans (they starred together in Knives Out) and Ryan Gosling (in Blade Runner: 2049) to maximum effectiveness and chemistry. Thankfully, that chemistry is platonic on both ends in The Gray Man.

Rege-Jean Page, of Bridgerton obsession, sets himself up to stretch his acting chops in a sequel and experiment with some dynamics in a potential sequel. Dhanush, while predominately limited to some (really engaging) hand-to-hand combat, does anchor a moment of morality and resignation in the plot’s climax. Julia Butters, who first charmed audiences and filmmakers in Quentin Tarantino’s Once Upon a Time in… Hollywood, showcases natural acting instinct as she continues to build a solid filmography. Billy Bob Thornton and Alfre Woodard offer compelling, grounded performances to anchor the rest of the case. Woodard, especially, packs a hard punch with the limited screentime she wields, and she knows how to wield it.

Some have claimed that Ryan Gosling defaults his acting style to an easy stoicism showcased in The Gray Man. That’s also an easy cop-out. Gosling understands the medium of film acting and allows his deeper-level characterizations to come through subtly, and honestly, big-budget effects and action overshadow that nuance. Greta Gerwig’s upcoming Barbie, where Gosling plays the famous “Ken,” will surely deliver a performance to mix up the retinue of action films. With Gerwig’s film, critics claiming Gosling’s perpetual stoicism will begin backtracking their previous comments.