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a Guy Ritchie espionage thrill- er for geopolitical realism. One watches for the sensation of competence. The fantasy that every dangerous person in the world is also devastatingly well groomed.
And on that front, In the Grey succeeds magnificently.
The action sequences possess a polished brutality that feels im- ported from a luxury automo- tive advertisement. Bullets arrive with choreography. Fistfights conclude with cufflinks still in- tact. Entire intelligence networks collapse while Cavill’s beard re- mains mathematically symmet- rical. It is absurd, naturally, but the film understands the value of confidence. A quality in- creasingly absent from modern cinema, where every protago- nist now arrives burdened with childhood trauma and emotion- al journaling. Here, mercifully, people simply shoot each other and board private aircraft. Ritchie’s dialogue remains both his greatest strength and most exhausting indulgence. Char- acters rarely converse. They orbit one another verbally like peacocks with firearms. Every exchange carries the energy of wealthy men attempting to out- wit each other at a cigar club none of us were invited to join.
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