|By||:||United Atates of America|
|Slogan||:||PG-13 for strong fantasy|
|Genre||:||Action, Comedy, Sci-Fi|
|Time||:||1h 45min. / 2:22|
|Budget||:||$210 000 000|
|Ryan Reynolds actors who make a cameo in the film. Many of them are quite amazing. The actor accompanied this publication with the following words This film is about friendship. And friendship in its simplest form, consists of simply being there. Although I do not have photos of everyone, I dedicate it to all those friends who were there for this movie. We see different photos of the actor with these mentioned actors, most visibly taken on the set, although others like Hugh Jackman's are previous.|
Free Guy, which presents Ryan Reynolds as a common man who discovers that he is a secondary in a video game, claims to be an original title in a franchise moment, which is true. But it is also one of those works that mix a thousand and one ideas from previous titles (is there one that isn’t?): Point out the most obvious, the unattainable Matrix and the recent and referential The Lego movie and Ready Player One, but add others perhaps. not as expected (and just as interesting) as Trapped in Time (Reynolds, or sorry, Guy, is doomed to repeat over and over again the same day), the also comical Pleasantville (the video game is a 2.0 version of those suburban neighborhoods falsely ideal) or, attention, the very same I am alive of John Carpenter (the realization of Guy takes place… putting on some glasses!). The latter perhaps not so deliberate.
This barrage is not intended to criticize Free Guy, a film directed by Shawn Levy, one of the creators of Stranger Things and director of the three Nights at the Museum, or at least it does not hurt her fatally. Actually it serves to underline that, despite all this, her sometimes annoying need to explain herself too much (lest someone does not understand it) and her almost inevitable drift to a politically correct territory, green and at the same time white ( when the film had everything on track to be truly rebellious), Levy’s work works and even stands out in a truly sad summer movie panorama, that of this 2021.
Conceived as a vehicle for Reynolds to demonstrate his aptitudes as a suitable hero for all audiences, the film works thanks to the actor’s evident capacity to win the sympathy of everyone. But Levy, or rather his script, have the intelligence to articulate two complementary and stimulating plots with great efficiency. On the one hand we have Guy (or, rather, “uncle”, note the pun of the original title: free uncle) becoming aware of himself and the truth of him, which Hal 9000; and on the other, an unexpected narrative of industrial espionage that adds color, variety and incidentally supports the true reflection on the medium that the film contains beyond its obvious references to Fortnite, video games and well-known films that make up the false reality of Guy.
In the end, the film is like a great Greek play on the great themes of always: the new theater of masks (or avatars), the (digital) utopia and reality and yes, the art itself, now represented in that digital megalopolis of zeros and a derivative in turn of a failure, of a copy of copy. Levy miraculously captures it all with a thick line, but with a line at the end of the day, even if it directs the film to a familiar, conciliatory territory, perhaps because there was no need to do otherwise.
The “mindfulness” outbursts of this otherwise brilliant, verborrheic action and comedy film are annoying, not only filled to the brim with cameos and references that the advertising campaign does not tire of promising, but also with interesting metaphors about the relationship between fiction and reality and how the delicate veil between the two falls, and the truth arises, from precisely contemplating ourselves in those mirrors and reflections where Guy looks. Even its weary romantic element is actually, finally, about the dangers (and wonders) of falling in love with our fictional creations and products … and watch out, seeing how true love emerges in the end. Let’s point out, because it is important, the wonderful presence of Joe Keery, the true acting revelation of Stranger Things, how unbearable Taika Waititi is once again and, in short, applaud Free Guy as, perhaps, one of the best American films of the year . Although it occasionally yields to certain attempts at social psychology “flower power”, in which a dominated mass faces a dominant minority (that shameful scene of Guy “directing” the other avatars against the privileged ones) even in that the film Levy’s at least is representative of something. An unexpected and well deserved remarkable high.
Wes Anderson’s “The Woman in the Window”, which ended up under-sold to Netflix, or Wes Anderson’s “The French Chronicle,” was delayed for more than 18 months, did not foresee anything good for the film. Then Ryan Reynolds arrived. The Canadian actor, famous for playing “Deadpool” on the big screen, put the charisma (and money) that was needed and more than three years after the draft of his script was finished, “Free Guy” arrives this Friday to the Spanish rooms.
Of course, the incorporation of the film into the universe of Snow White and Captain America, since it almost made it disappear, must have had a place in the film: “The mentions of Disney and the use of its properties in the film were not in the script original. We wanted to have a third act where Reynolds’ character Guy would level up and be able to dispose of whatever toy or tool he had. So when Disney bought Fox we realized that we had, almost unwittingly, access to the largest toy store in Western culture. From the history of cinema, even. So we decided to put them in the movie. It’s a lot of fun, and more fun is seeing people’s reactions to it. ” Who speaks, with the trust and honesty of the one who has been producing for more time than directing is Shawn Levy, who makes his first feature film since “Night at the Museum: Pharaoh’s Secret” and the mourning process that meant the death of his good friend, Robin Williams.
More than five years later, and having dropped by “Stranger Things”, Levy uses Reynolds’ charisma to tell a story about a random guy, one more from the crowd, with a typical job, a typical friend and some hobbies , you guessed it, also from the heap. One fine day, this mediocre (hence the “guy”, type, in English) will discover that it may be someone else, that he does not have to follow the conventional path and that, perhaps, there is a world yet to be discovered: “I have told many stories thanks to CGI and digital effects. And I always try to maintain a balance between the digital effects and the human interest of the stories ”, explains the director. And it continues: “The challenge in“ Free Guy ”was not to get lost in the digital world. And it was the fun thing too, because it’s about a character realizing that he lives in a video game world. So there are times when digital effects can dazzle us, because I wanted to give the feeling that Ryan Reynolds’ character is overwhelmed, overwhelmed, “he adds.
To understand Levy’s new movie, as well as being willing to sit through his nearly two hours of footage of shots, explosions, love, and Mariah Carey, you have to first know what an NPC is. These “Non-playable-character” (non-playable character, again English) are the bits, almost in the form of movie extras, that we find in any video game. Reynolds brings one of them to life, and he does it in the most difficult of senses yet, becoming the first NPC to achieve singularity, that is, when an organism – in this case, digital – is able to think for itself and make your own decisions, when you have free will, if we want to get eschatological. Ontologically, a cocoa; Cinematically, a show as funny as it is terrifying regarding the exploitation of intellectual properties in a Hollywood sparse of ideas. Luckily, we will always have Ryan Reynolds: “As an actor, he is a director’s dream. We immediately started to connect about what we wanted to tell and how we wanted to do it. The chemistry was immediate, because we both wanted “Free Guy” to be action-packed but not to make it cold, to keep his soul intact. We also wanted it to be as universal as possible, that everyone could find their own story within it.
A bank teller discovers that he is actually a minor character in the open world video game Free City. He will decide to become the hero of his own story that he himself is going to rewrite. In a world where there are no limits, he sets out to be the man who saves the world from him in his own way before it’s too late.
One, who is sentimental at heart, wants to believe that Shawn Levy, artisan director who many consider filler in the Hollywood industry, has been recognized (and a lot) in this digital adventure where the secondary characters, when not directly expendable, they become aware of their identity and values.
It is true that Free Guy could (will) be defined, condescendingly, as the Ready Player One of the Fortnite or Twitch era. Or a Wreck-It Ralph with a protagonist who is the Walter Mitty version of The Lego Movie. And even, that deep down is what it really represents, The Truman Show of this new reality of bytes and confusion between what is true (what is it in the end?) And what is not. The sea, what lies beyond it, is in Shawn Levy’s film, as in Peter Weir’s, a wall where faith collides, where God vanishes. It is no coincidence that the Guy whom Ryan Reynolds endows with an innocence and humor worthy of Danny Kaye, also wonders about God and decides that perhaps goodness is a way to understand him.
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